#but he seems to mostly be out of his prog rock phase now so I missed the window to inflict zoomer prog on him

[doedipus]

roundabout being the yes pick for best 70s song feels whack. like I know it's because of jojo but I'm still kind of surprised it's not something off the yes album

like okay, my dad's favorite yes album from the era is fragile (I believe his absolute faves are the ones in the trevor rabin era), so from a sample size of two it's understandable to pull from there. it's a good, solid album.

but personally I think the folksier angle a lot of the yes album goes for is probably more accessible and probably a better pull for a "best 70s song" kind of poll. like if you reach for a 70s yes song everyone can agree on you get like, starship trooper or yours is no disgrace

well, and then on the other hand, I really like relayer, man. the gates of delirium is probably like my single favorite yes song, and sound chaser is a close second. but no fuckin way are either of those songs good in the way a "best 70s song" contender would have to be.

[grimelords]

Hello I’ve finished my February playlist for you. There’s no timeline on these things anymore they just come out whenever they come out it seems. A good mix, and I’m sure there’ll be at least one thing in here you’ve never heard before that you’ll like. 

Doncamatic (feat. Daley) - Gorillaz: This song is extremely traumatic for me because they released it after Plastic Beach as a standalone single and Damon Albarn said they had a whole other album worth of songs from the Plastic Beach sessions that they were thinking about releasing with Doncamatic as the lead single that just never materialised, and the idea of Plastic Beach 2 sitting on a hard drive while we get The Now Now (The Fall 2) instead is maddening.

Portait Of A Man (live) - Marlon Williams: I feel like I've used The Secret to bring this album into existence. It's exactly what I wanted from him - no studio artifice or weird genre pigeonholing and his huge voice on full display. It's incredible and long as hell and this is definitely the highlight.

Houdini Crush - Buke & Gase: I'm in love with the structure of this song. It takes SO long to get back to the chorus. It takes about three different sections in the middle and then finally gets back there and it's so satisfying because of it. You could edit this song into a tight indie pop piece but instead it has the space to go wild and jam and it's great.

AE_LIVE_KRAKOW_200914 - Autechre: Sorry but Autechre finally put all their live albums on spotify and they're very VERY good. Not the sort of thing that you want to listen to as part of a playlist exactly cause they go for an hour each but a very nice reminder nonetheless.

Sheet Metal Girl - Pig Destroyer: I think Pig Destroyer is one of the best band names I've ever heard. I found out later they meant pigs like cops which is still good but the idea of absolutely eviscerating a hog for no reason is very palpably metal. Just looked up the lyrics and this song seems to literally about having sex with a girl made out of sheet metal. Good!

Horizon - Aldous Harding: I absolutely love this song and the way she says 'babe' lights my brain up like a christmas tree. Every now and then I think about when you’ll die baaaaabe.

Born Slippy (Nux) - Underworld: There's a good bit on the Genius page for this song that says "Lots of 1990s acts helped popularize techno, but in Karl Hyde, Underworld had something that was the exclusive province of rock bands: a totally full-of-it frontman who sounded cool." and it's interesting that Underworld and The Prodigy are the biggest names to survive that time and still be at least slightly relevant now. No matter how much you put into your instrumentals nothing can really compare to just having an insane guy yell a bunch of garbage over it.

A Change Is Going To Come - Baby Huey & The Baby Sitters: This is like all good all normal and then he does that huge squeal at 2 minutes in and you're rocked to your core and then it only gets bigger and bigger and better from there. Also maybe one of the best mid song monologues I've ever heard.

No Signal (feat. Roy Woods) - 24hrs: The whole thing of emo rap mirroring mid 2000s emo is still so strange because it's not just the mindset and content being repurposed it's the literal melodic conventions. Change the instrumentation of this song and it's melodically just an emo song. Very strange, but this song is great regardless.

De Aqui No Sales - Cap.4: Disputa - Rosalia: Rosalia rocks and I only just found out El Guincho co-produced this album which is very exciting to me. I love the way this song feels like it never really gets to the big build up it's promising. It has a big intro for about half the song and then when it feels like it's about to blow up when the handclaps come in it just sits in that groove for a while and ends. I also feel like I should mention the video for this song because it's like the platonic ideal of a music video. It's got everything you could ask for. https://www.youtube.com/watch?v=AvGt2BcDl_g

Glass Jar - Gang Gang Dance: Here's how good brains are: I had a sudden urge to listen to this album the other day but couldn't remember what it was called or who it was by, only the album cover, but for some reason locked away in my brain was the fact that it was from 2011 so I just looked through Pitchfork's Best Of 2011 list until I recognised it. Incredible. Anyway I'm so glad I did because I ended up having a huge phase with this album. They walk the fine line of psychedelic jammy bands like this of taking up a lot of space with atmospherics but it never feeling like it's lost momentum. Even when this song takes fully half of its 11 minute runtime to properly get started it never feels like wasted time somehow, it's always moving somewhere.

Heavyweight - Infected Mushroom: It's unbelievable that this song's good because it absolutely shouldn't be. The unholy mix of goa trance and metal usually reserved for Command And Conquer soundtracks is so unbelievably naff that it's come all the way around again and I absolutely love it.

Black Static - Health: I'm still absolutely furious about Pitchfork giving this album a 3 and not particularly for the score but because it's some of the worst Pitchfork Writing I've seen in a quite a while. They tried to cancel them for calling the album Slaves Of Fear I think: "The “we,” it seems, refers to the slaves, the slaves of fear, and if I try any harder to connect the dual sensation of edginess and laziness with slavery, the all-American institution that killed and brutalized millions of people for hundreds of years, I am going to have to take a long walk into the sun." Not sure about that. Anyway this song's great sorry for talking about a review instead of the song!

Burn Bridges - The Grates: Twee pop is an underrated genre and The Grates are an underrated band because they brought so much attitude and power to it it's hardly twee at all. It's huge and it rocks!

Girlfriend (feat. Lil Mama) - Dr. Luke Mix - Avril Lavigne: Sorry for putting Dr Luke on your dash in 2019 but this is mostly for Lil Mama. Removing Avril's verses and replacing them with Lil Mama but keeping the chorus and big guitars makes it sound like a lost Girl Talk song and it's so, so much better than the original. There's also a good bit in this where she really puts a lot of emphasis on saying 'Jennifer Hudson' and the weird harmony vocals in the background mirror it which I like a lot.

Panic Switch - Silversun Pickups: It seems like Silversun Pickups had no lasting impact beyond being one hit wonders for Lazy Eye which is so strange to me because their first two albums were absolutely solid. This is also a good example of totally nonsense lyrics feeling like they have meaning because the melody it so good.

3 - Seekae: It's very strange now to think that Alex Cameron was in Seekae. But that's not important. What is important is how good this song is. In the extremely narrow genre of Mount Kimbie-ites +Dome really stood out to me as album from guys who really got it. It's extremely catchy music but it still sounds like nothing you've ever heard before which when you think about it sounds like it should be impossible.

Shooting Stars - Bag Raiders: Bag Raiders did a little Song Exploder thing for Triple J about this song a little while ago and pointed out something I'd never noticed before which is that this song has the extremely strange structure of 1 really long verse, breakdown, 1 really long chorus, end. Which is.... completely amazing. And also that this song blew up and charted higher than it ever had before via memes like 6 years after it came out is still bizarre. Remember when it was in the video for Swish Swish by Katy Perry? God I hope they got paid a million dollars for that.

Romantic Rights (Erol Alkan's Love From Below Re-Edit) - Death From Above 1979: Huge fan of this remix that seems to just drop the full song unedited right in the middle. The perfect way to remix an already great song - just make it longer.

Dwa Serduszka - Joanna Kulig: I saw Cold War and subsequently couldn't get this song out of my head. I loved that movie so much but I also extremely agreed when @cyborgbree said the ending was like a Simpsons parody or foreign movies.

Holes - Mercury Rev: This song gives me depression and makes me feel like I'm sorting through old records and merch from my old band that tried really hard but never got anywhere even though I've never even been in a band. That's the power of music!

It's Never Over (Hey Orpheus) - Arcade Fire: Reflektor is a great and underrated album and to this day I am still finding new things to love about it! Namely this song which I've never paid much attention to before but massively jumped out at me last time I listened. It's a 3 note riff but it's absolutely amazing.

Dance Your Life Away - Audiobooks: Huge fan of having the gall to name your band Audiobooks and a huge fan of this song! It sounds like if Life Without Buildings was a dance band, which is a theoretically perfect idea. It sounds like she's just making the words up on the spot and she probably is and it's absolutely great.

Everything (Deathless) - JW Ridley: I'm so glad that War On Drugs brought heartland rock back for the masses and finally gave us back extended guitar solos outside of a metal or prog context. It is so inspiring what you can do with two chords and a propulsive groove.

Unmarked Helicopters - Soul Coughing: Sorry for continually putting Soul Coughing in these playlists but check out how good this song they did for the X Files movie soundtrack was. 'check out this Soul Coughing song they did for the X Files movie soundtrack' is a very specific kind of 90s sentence. Anyway the 'black black black black and blacker' part with the distortion on the vocals is so good, love it lots.

Don't Sit Down Cause I've Moved Your Chair - Arctic Monkeys: I saw Arctic Monkeys a couple of weeks ago and it was amazing but also extra good because they played this song that I'd completely forgotten about and it went off. The Josh Homme produced Arctic Monkeys albums are very good because his fingerprints are all over them and they sound like Queens Of The Stone Age covers.

What Can I Do If The Fire Goes Out? - Gang Of Youths: It's fucked up how good this song is. I listened to it the other day and was like 'what the fuck how come I never listened to Gang Of Youths second album that much? But then I kept going and realised it was 70 minutes long and had about five interlude tracks on it. I love Gang Of Youths but they need a producer that will yell at them until they make a 40 minute album. Fuck this song's good though. So good I'm mad I haven't seen it live yet.

Shark Smile - Big Thief: I don't even know the words to this song or what it's about but it makes me cry anyway. I'm very glad I found out about Big Thief this month, like two years after everyone else. Their description on Bandcamp says "Listening to Big Thief is like the feeling of looking at a dog and suddenly marvelling that it is like you but very not like you; when you are accustomed to looking at a dog and thinking 'dog', watching Big Thief is like forgetting the word 'dog' and looking at that naked animal and getting much closer to it and how different it is to you" which is a certainly a way to feel.

Inhaler - Foals: I don't know how I've avoided it but I've never really gotten much into Foals even though they have multiple songs that I really really love, this one being one of them. I think it's an amazing piece of recording simply for how huge it gets. This song swells to about ten times its original size as the chorus hits before totally deflating again. Also a huge fan of anyone that can make a Battles riff work in a conventional song like this does.

Red Bull & Hennessy - Jenny Lewis: Another fantastic song in the long pantheon of great songs about getting twisted and being horny. The isolated 'ohh' after 'all we've been through' feels like a real Shania Twain piece of production and I love it. Also the drums on this song are absolutely massive for some reason which is very cool.​

listen here

[thepurplesnakeera]

Tyler The Creator Colors Way Outside The Genre Lines On His Groundbreaking Album, ‘Igor’

Tyler The Creator Colors Way Outside The Genre Lines On His Groundbreaking Album, ‘Igor’ http://bit.ly/2X0g9rI,

Columbia Records

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.

There are perhaps two ways a listener can come to approach Tyler The Creator’s maturation over the last two albums — as he eases his way into an elder statesman role for the generation of blog rap he created — without being skeptical about his evolution.

One is to have been a Tyler The Creator, Odd Future Wolf Gang Kill Them All fan from the time you were ten, ardently following his every move with something like hero worship. He could do no wrong, mostly because you didn’t know better. Or, you knew better and argued, like he did, that everyone else needed to chill out.

The other is the way I did: By staying cool on Tyler until he managed to grow up. He partially did so on 2017’s Flower Boy, which was more enjoyable for the simple reason that it was unencumbered by the ridiculous baggage of his early rise to stardom. Just because a child throws a tantrum in Target, that shouldn’t be a commentary on how they’ll handle college.

On Igor, it seems Tyler finally comes of age. It’s not an album about the angst of adolescence or the anger of young adulthood. He’s nearly past all that, and better for it. Where Flower Boy contained Tyler’s first halting steps into genuine maturity and vulnerability, Igor is Tyler pushing all his chips to the center of the table, showing his cards, and coming up aces. While it’s not perfect — shadows of the old Tyler remain — it’s miles away from his mercurial beginnings and seems to point to a smarter, gentler — or at least more subtly devious — Tyler The Creator.

Igor is also one of Tyler’s weirdest and most experimental albums yet. In fact, restricting the elaborate, organic sound of this project to just one category or genre would be insultingly reductive. Despite Tyler’s origin and usual classification as a rapper, Igor owes as much of its inspirational DNA to psych-rockers like Pink Floyd as it does rhyme pranksters such as Biz Markie or Kanye West, who makes a surprise, freewheeling appearance here on “Puppet.”

The Biz Markie comparisons come from Tyler’s off-kilter, often totally off-key singing on many of the album’s more woozy, lovelorn tracks like “I Don’t Love You Anymore” and “Are We Still Friends?” It might not even be totally accurate to call it singing. It’s unabashed warbling, totally discordant to whatever the Pharrell-influenced production might be doing, yet somehow completely appropriate and relatable as well. This is “belt your heart out in the shower daydreaming about that American Idol audition” type yodeling on Tyler’s par. Unlike the angry, “break sh*t” phase of his early artistic development, this is somewhere we’ve all been.

Regarding what the production is doing: Imagine early-90s b-boy breakbeats as a breakfast cereal and fuzzed-out, prog rock guitars as the milk, swirling and distorting and melding into one another until it’s a syrupy, delicious soup. Taken as a whole, it’s too jarring to be comfort food, but it’s also so good, it’s hard to picture enjoying one ingredient without the other. “Running Out Of Time” is perhaps the best example, but “A Boy Is A Gun” adds a dusting of late-era Kanye soul sampling — think “Bound 2” — that leaves the track begging for replays.

Lyrically, Igor toils the always-fertile subjects of new love, developing and dissolving relationships, and the struggles to remain close after changing that Facebook status from “In A Relationship” to “It’s Complicated.” That isn’t to say that Tyler’s lost his wicked sense of humor — it leaps out in smirking references to Erykah Badu on “New Magic Wand,” replete with all dark overtones of his old lyrics. However, those overtones are now undertones, sublimated by the snark and wit of his bars rather than trying to derive that cleverness from the violence and misogyny of before. “Eyes are green, I eat my vegetables,” he cracks. “It has nothin’ to do with that broad / But if it did, guarantee she’d be gone.” He leaves the solution — which involves his “magic wand” to the listener’s imagination. It’s still gruesome, but he lets you figure that out on your own.

If it’s hard to reconcile Tyler’s toned-down fantasies with the reckless abandon of his youth, that’s understandable. But it’s hard to deny that Igor is perhaps the best example of letting artists mature to get to the good stuff. Maybe he’ll never grow all the way up, but Igor is a promising glimpse at a potential final form, one whose talent is the focus, and not his provocative ways.

Igor is out now via Columbia Records. Get it here.

May 21, 2019 at 01:06PM via ThePurpleSnakeEra source https://thepurplesnakeera.blogspot.com/2019/05/tyler-creator-colors-way-outside-genre.html