Giuseppe Zangara

Dan is pretty buff.

I was just being an asshole, dude.

WHOOOAAAAA I DISCOVERED REVERB AND AUDIO PANNING cling clang bong bing bong EDIT: Seriously, though, I would be much more pleased with these two tracks if each were about half as long. I get what they were trying to accomplish, but the conceit on both are stretched to the snapping point.

What's the opinion on Soundtracks? Given its origins, it's a little too erratic, but it contains "Mother Sky," which is the best of the Can epics, I think. I also love "She Brings the Rain."

It's very odd to me that people hold Tago Mago in as high regard as they do. Differing tastes, I know, but the 1-2 gasbag of "Aumgn" and "Peking O" is such dreary musique concrete wankery. A little of each would've been fine—each has some neat moments—but 30 fucking minutes of it? Overkill.

I'll eventually buy the remasters of Monster Movie and Future Days (my second favorite Can album) and get Unlimited Edition and Delay 1968 somewhere along the way. I'm sure I'll download the rest at some point, just to satisfy my curiousity.

It took awhile for me to warm up to Monster Movie, but I eventually did. Malcolm Mooney's vocals defined "acquired taste."

That he's one of the ugliest people here says a lot.

That's strange, since Karoli and Schmidt's vocals are pretty Damo-like.

God is cruel.

Soon Over Babaluma is wonderful. It's also the only post-Suzuki album of theirs I've checked out. Not that I'm missing much; aside from the as-yet-unheard-by-me Unlimited Edition, Can after SOB is, by all accounts, very dodgy.

What I want to know now is who were the five people who clicked on the thumbnail in the first post so they could get a better look.

I rarely ever buy the remastered versions of albums I already have, but given just how much better they sound over the originals, I've slowly been picking up the Can remasters since Mute first started reissuing them in 2004. Today, I picked up the reissue of Tago Mago, inspiring my revisiting the record for the first time in a few years. Tago Mago is, for the most part, a fantastic album, but the combined near half-hour running time of the "Aumgn" and "Peking O" nearly sinks the entire affair. A shame, considering the incredible stretch of music—"Paperhouse" to "Mushroom" to "Oh Yeah" to the krautfunk monster that is "Halleluhwah"—that precedes it is epic.

POWER AMBIENT Stars of the Lid's And Their Refinement of the Decline is one of my favorite albums from this year.

So intent was I on saving and uploading that pic that I left out a verb in the title.

Okay, listening to this for the first time. There's a really nice melody in the chorus, but the cheerleaderish chanting and count-off are just a little :eyeroll:, ya know? It also could benefit from better production values, not that that would disguise the fact that the song is little more than an indie pop trifle. We all benefit from the vocals being buried low in the mix/effects-laden, as I can testify to singer/guitarist Reggie Youngblood being incapable of a carrying a fucking tune to save his life. I say this with confidence as, a few years ago, he was the frontman for this totally awful bunch of Cure-rip-offs called Cubby, whom I had the misfortune of seeing live a handful of times.

Lengthy song titles are not exclusive to Moz-aping youngsters. No one was thinking of the Smiths when, a decade ago, Don Caballero were giving songs names like ""In the Absence of Strong Evidence to the Contrary, One May Step Out of the Way of the Charging Bull" and "No One Gives a Hoot About FAUX-ASS Nonsense."

I still follow newer music, but I'm far from caring about checking out whatever new band gets blogged about or written up in Pitchfork. There's a total homogeny in indie rock now—good for you if you can honestly tell apart Rogue Wave from Blitzen Trapper from Tapes n Tapes from Clap Your Hands Say Yeah from etc. but it's all the same whiny-voiced, infectiously hooked swill to me.

Big reason why I gave up trying to follow contemporary music. I wasn't really absorbing anything; I just wanted to have an opinion on whatever people were talking about. That isn't being a music fan; it's status. A pose.

Speaking as an aging hipster, that Idolator article is mostly spot-on. Mind you, I've yet to hear anything by this band—hometown represent!—but no band that's only recorded a handful of songs and played not many more shows is worthy of the kind of hype Black Kids is getting.

Why were these two bands lumped together?

I've still never knowingly heard any of her songs. If it wasn't for the internet, I wouldn't know she exists.

I figured that's what you meant, which is why Kinetic's suggestion of Phil Collins was off base. The songwriting amongst the trio-incarnation—a period of the band for which I'm no great fan—was pretty evenly split amongst Rutherford, Collins and Banks; even if all you know of 80s Genesis is the singles, you could stand those against Collins' solo singles of the same period and see that Banks and Rutherford must've reigned in Collins's sappier, saccharine tendencies.

It's a common misconception that Genesis suffered upon Peter Gabriel's departure; the first two post-Gabriel albums, A Trick of the Tail and Wind & Wuthering were every bit as good as the Gabriel-era stuff. Also, it's a bit questionable to call Collins, at any point, the "center" of Genesis, unless you mean "center" as simply being the band's most famous/prominent member. If that's the case, you really couldn't call Peart the "center" of Rush.