Alt & Indie AOTWs
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06-06-2005, 12:49 PM
Hope of the States - The Lost Riots
Dramatic, powerful and intense. A wall of guitars, strings, keyboards and drums. That?s the Hope of the States sound, and it has produced arguably the finest debut of the year.
Hope of the States originate from Chichester, England. They are a 6-piece made up of vocalist/guitarist/pianist Sam Herlihy, guitarists Mike Hibbert and Anthony Theaker, bassist Paul Wilson, violinist Mike Siddell and drummer Simon Jones. Mike H took over from the band's former guitarist, Jimmi Lawrence, who tragically died early in 2004, whilst the band were putting the finishing touches to this record.
Right from the word go, you can tell that this is like nothing you've ever heard before. The powerful instrumental opener The Black Amnesias begins with a haunting acoustic guitar riff. Strings and percussion slowly enter underneath it, before a distinctive slide guitar riff heralds in a sheer explosion of sound. The next few minutes - Jonny Greenwood-esque tremolo-picked guitars and violins battle for space, while pounding regimental rhythms continue in the background - could well be one of the finest album openers of all time. By this stage, you would be forgiven for dismissing the band as another bunch of gloom-mongers. But then the second track, Enemies/Friends turns up to shatter all those notions. A call-to-arms against governments exploiting people, it contains such lyrics as "Then I found a broken heart, the dusty wheezing thing won't start/I'll fix it up and watch it grow, and send it to a happy home" and the classic closing refrain "Come on people, keep your friends close, your enemies won't matter in the end"
And so it continues on in this vein, alternating between singalong anthems and nerve-shredding political outrage. The placid organ intro of Goodhorsehymn is one of the most beautiful pieces of music of recent years, and after hearing the album's two bona fide epics (Black Dollar Bills and Me Ves Y Sufres) the first thing you'll want to do is put them on again. The guitars of Mike Hibbert and Anthony Theaker are consistently varied throughout, rarely even sounding like guitars, flying off into uncharted territory imitating horns, strings and God knows what else. Meanwhile, Mike Siddell's violin injects much-needed originality into this masterpiece. By now you'll be getting an idea of how incredibly different Hope of the States really are from the millions of identikit indie bands around at the moment - I'm yet to hear a single power-chord on this album.
Under all this it becomes easy to forget the fantastic vocal performance given by Sam Herlihy. While initally he may not have the most enchanting voice, he is a vocalist capable of huge contrasts. In Don't Go To Pieces, his soft repetition of lines like "Please come back tomorrow, I need you all the time" are guaranteed to pull the heart-strings. This is immediately followed by The Red The White The Black The Blue, which sees him bellowing lines like "Hijack, train wrecks, silver wheels/Ring all bells and start the fires now" amidst clattering drums and piano - a definite highlight of the album. Sam is also capable of huge lyrical contrasts, from the "winter riot hopeless blues" of 66 Sleepers To Summer to the anthemic call-to-arms that closes Nehemiah - "People come on make a stand, people come on if you try you can, we're not alone when the lights go out, we stand together when it all stops"
The final track, 1776, is an ideal closer for this emotional masterpiece, with chiming guitars and billowing strings aplenty. Reminiscent of Radiohead's Motion Picture Soundtrack, which closed Kid A, looping harp samples signal that the album has ended. Except it hasn't - there's a hidden track entitled A Crack-Up At The Race Riots, and is one of the most downright scary songs of recent years. A furious maelstrom of guitars, strings and drums opens the track, and it continues much in the same vein throughout, with Sam's apocalyptic lyrics "You pull me down piece by miserable piece, we fight together and we die together" barely audible underneath the chaos.
As RobbieMac said in his Beta Band review, you're not getting a concept record here. This isn't some pretentious fusion of about 20 different musical styles, it's a masterpiece which everyone needs to hear.
07-19-2005, 07:48 PM
The Cooper Temple Clause : 'See This Through And Leave'
There are four types of people in this world.
The first type are long time Cooper Temple fans... if you belong to this catagory then have fun reading this article, but it does not apply to you.
The second type have heard what the Cooper's have to offer and walked away from their elecro-rocking buffet feeling more than full and not wanting any more. You are all very deprived individuals, and yes, there may in fact be something wrong with you... but alas, this article is not for you either. Feel free to continue reading though as long as you recognise i promise no miracle stomach cramp cure.
The third type starts to get intresting... They have indeed heard a few CTC songs... 'Promises, Promises' on a mate's stereo? The 'Blind Pilots' vid on MTV2? You liked them didn't you? You nodded your head and tapped your foot... the chorus to blind pilots may have even been in your head for a few days; but you didn't act on your new found impulse, so finally the Cooper's have tracked you down by way of my review of their first album... Keep reading comrade.
And finally, our fourth contestant... the Cooper Temple Virgin. You may have even never heard of the name... well, here's your lucky day punk, because all my attention seeking missiles are aimed at you.
So the first group of people often have arguments amongst themselves about which album is best... this full length debut or the more recently successful 'Kick up the fire + let the flames break loose'. I'll let you know right now where I stand. 'See This Through and Leave' is by far the better album for me... i loved it when i first heard it and it has been getting better and better. It seems to have a lot more energy on it, and i love every single track.
The Cooper Temple Clause are 6-peice (yes, six) from Reading. The typical four-peice band set up is complimented by two Keyboard/DJ/Synth/Sampler/Xylophone-playing texture creators... and they are an integral part makes the Cooper's different from many bands you may have heard attempt the same form of alternative, post-grunge, post-britrock music. The first sound you hear on the album places you inside a space capsule of octave notes before a groovy bass and drum line fall into place helping you find your footing. The Cooper Temple Clause often aim to place you, the listeners, in these strange alien atmospheres with their soundscapes... but as the songs slowly build up towards a throbbing crescendo, the riffs appear like a mirage in the distance.
Follow-Up Track 'Film-Maker' is no mirage... the feedback harmonics that get thrashed within a inch of their sonic lives by the thudding drums grab your arm and yank you into the middle of the most active mosh you've heard in a long time. 'Panzer Attack' (as the title might suggest) is no let-up either... The Cooper Temple Clause ROCK. Singer Ben Gautry screams and howls his anger over a canvas of thrashing guitars and waves of futuristic sound. The band almost dare you to not put down whatever you are doing and jump around your front room like the neighbours aren't watching.
The are 'singles' on this album... The loungue-act suave of 'Who Needs Enemies?' is groovy and boast a horn section that somehow manages to not sound out of place... "Who Needs Enemies when You've got friends?" Ben asks... for the 55 minutes of 'See This Through...' you wont need any more friends than your six sonic rock adventurers.
'Lets Kill All Music' is the stand out track and had success as a minor release. The typical formula of synth and guitar build up leading to loud crescendo doesnt show any shred of staleness... and as the vocalharmonies build up the album reaches its pinnacle.
They sound like nothing else and yet you will hear traces of everything. If you do not have this CD in your collection, the least you could do is give some of the track's mentioned a listen. Many have told me they are an aquired taste... and that is true... but the cooper temples were and are continuing to be one of britains most innovative rock bands... and after you have seen this album through, they will make sure that you wont feel full up and leave but return begging for your next fill...
You can get your fill at Reading/Leeds Festival this summer... or keep an eye out for the arrival of a third studio album currently being finished up in the studio with a national tour sure to follow.
edit: cheers andrew/the mod who stickied this :cheers:
07-27-2005, 09:46 AM
The Brian Jonestown Massacre : 'Tepid Peppermint Wonderland... A Retrospective'
Ok... so this week im going to bend the rules of the 'AOTW' slightly, so if Andrew comes to you then you didn't see me alrite? ;)
I normally never get 'best ofs' prefering to work my way through the CD's one at a time... 'Tepid Peppetmint Wonderland' (TPW) is an exception though. Its 38 songs on two CD's and has a running time of over 140 minutes spanning almost all of a decade of Brian Jonestown records... and thats a lot of records. Anton Newcombe (singer/guitarist/99 other instruments/only consistant member of BJM) has an unprecidented work ethic that other artists can only be envious of. He also has a severe distaste for the music industry (might be one of the reasons you havnt heard of this band before 'DIG!' came out) and has placed every one of his band's thirteen albums on his website (http://www.brianjonestownmassacre.com ) for you to download and listen to for free.
So you see... this is not a review of any one of those albums... this is my chance to review the Brian Jonestown body of work and introduce you to their sound. For me, the Tepid Peppermint Wonderland CD is the perfect start, and I always like having an actual CD to hold anyway.... but I also realise ive gotten to the bottom of my third paragraph and have told you nothing about the sound itself... let me put that right...
It is no coincidence that the BJM star so closely alongside the Dandy Warhols in the rockumentary 'DIG!'... any fan of one I feel has a 99% chance of being a huge fan of the other musically. The BJM sound is similar to the Dandys early work, but you must remember of course that former influenced the latter, not vica versa ;). There has been a high turnover of musicians in the band, over 30 members have left or sacked, being in the BJM is a very volatile environment... but the regular set up often has many layered guitars which really created a full soundscape of different harmonies and ecclectic rythmns. The songs have you tapping your feet while blessing your ears. Its the sound of the 60's... updated. Anton isn't afraid to use new and strange instruments, the band had a full-time tambourine player for half of their records. The songs sound familiar within from the first bar of every measure... but you will be left with a sound you have never heard before.
The mood is often introverted, meloncholy, and... erm... moody; but Anton has hope in his heart of escaping what he is suffering from, and his lyrics oft talk of love or salvation, and i dont mean in a preachy God way.
Compared in many ways to the Velvet Underground... and not just because of sound but also because their lack of chart-inspiring album sales have in no way hindered their ability to be one of THE most influential bands of their decade. The Dandy Warhols, The Lovetones, Black Rebel Motorcycle Club (whose guitarist Peter Hayes was one of the 30 members who left BJM) just to say a handful.
I am guilty like the rest of us of not knowing of this band before the DIG! press machine rolled into motion, and having watched the film and reading Anton's comments about it on his site im not sure what i beleive about how accurate the depiction of his madness is... but whats clear is that the music is left behind in beautiful stereo for you and your eyes to judge for yourself.
(Anton Newcombe right of picture)
PS: if anyone wants to do one of these AOTW's then just post here saying you'd like to do one (please do... go on) Ill keep doing them weekly until someone else wants one or my cd collection runs out, whatever comes first :p
08-12-2005, 08:40 PM
Album of the Week : Pixies : Surfer Rosa
For those of you who don't know the Pixies well, they were an alternative rock group who formed in Boston in the mid 80's. Their music was a mix of pop, noise, college rock, surf, and general weirdness. Surfer Rosa is argued to be their most raw and abrasive record. (It was produced by Steve Albini, who is known for fronting Big Black and hating reverb.) Since its release in 1988 it has influenced countless musicians, from Kurt Cobain to Isaac Brock. Though it barely saw any commerical success, Surfer Rosa's impact is still seen in music today.
When the Pixies went into the studio with Steve Albini, they were recording their first full length album for 4AD. (4AD was some ridiculously hip british lable that fellow Boston rockers Throwing Muses were signed to.) Spanning 13 tracks, surfer rosa is a sonically harsh album that disguises its catchy pop tunes with really distorted lead guitar, scary screams, and lyrics that (when they make sense) are as creepy as the music. I'm making it seem like surfer rosa is unlistenable, which couldn't be further from the truth. The album's noise is not an attempt to alienate listeners, it is an exploration of what can be done with rock and roll without going in a stereotypical prog direction. Surfer Rosa is artsy but not pretentious, and progressive but not a musical athletics show. Its a consistent album that ties great songwriting to a sound unlike anything before it.
If you've read anything about the Pixies, you've probably heard the words "Soft verse loud chorus" in that exact order. I find that very trite, but it saves a lot of time explaning. Listen to track 5, and message me if you think that smells like teen sprit may have been slightly inspired by that sound.
(If RobbieMac or another mod could add pics, that'd be great. I'm bad with that sort of thing.)
08-22-2005, 01:26 AM
Crooked Rain marked a turning point for Pavement. The band was originally a recording project between Malkmus and Kannberg. It then began touring with a recruited drummer and bassist. After touring their first album, new members were recruited, a drummer was fired, and new musical territory was about to be explored.
Mostly recorded in a studio situated on the 18th floor of a New York City building, CR is the album where Pavement came together as a band. The music is still messy, layered, and lo-fi; the change in CR is how many musical styles the band played in their own noisy way. Theres rock, country, jazz, post punk, and pop. Light piano based numbers are preceded by rock and roll numbers almost fit for radio, and followed by compound-time experiments. (The latter is a cool Dave Brubeck tribute.)
The production is cleaner than that of the band's first album. The sound is not as mysterious and fuzzy as before; the noise simply makes more sense. They had access to vintage equipment from a music store and had the time and patience to play around with different sounds from each song.
"Cut Your Hair" , their song about image and selling out, was funnily enough a minor hit on rock radio and MTV. The band didn't quite cut it with the mainstream, though. They were soon decided to be too weird by the MTV crowd and never came close to that path again. Which is most definitely for the best.
If you've never heard Pavement, this album is a great place to start. Its a collection of varied, layered, interesting songs that helped define music in the 90's. Anyone who cares for indie music needs to hear this album. That includes you, you're in an indie forum.
08-30-2005, 01:16 AM
Formed in the mid 80's by Washington DC punk scene veterans, Fugazi consists of Ian MacKaye (of Minor Threat), Guy Piccotto (of Rites of Spring), Brendan Canty, and Joe Lally. Canty and Lally, the rythem section, laid down ska-inspired grooves. MacKaye and Piccotto layered white guitar noise overtop, and passionately yelled their insightful political and social lyrics.
Fugazi's reputation lies as much in their anti-commercial aesthetic as it does in their strikingly original music. Fugazi sold 10 dollar albums and 5 dollar show tickets. They rejected stardom and rock excess, choosing instead to abstain from drugs, alcohol, and casual sex. They never left their independant lable and never used mainstream outlets as a means of advertising. Some have accused the band of occasionally writing preachy songs, but Fugazi always had their money where their mouths were.
13 Songs is a compilation on Fugazi's first two EPs. The album carries social themes that provoke questions about oneself, as opposed to others. The band takes on sexism, drug addiction, trust, egotism, and the dangers of passiveness. The smooth bass grooves are contrasted by noisy guitars that sometimes leave the listener questioning exactly what Ian and Guy are doing. The vocal interplay is one of the records strongest points. Theres something powerful about the idea of having two angry young guys scream at you. And thats how the record feels. Fugazi are playing for one, unlike their politically motivated contemporaries.
This record is musically interesting, emotionally powerful, and dives into subjects other bands simply wouldn't go near. I'd strongly reccomend this album to anyone who likes noise, likes punk, or simply likes music with positive, artistic aims.
09-04-2005, 05:04 PM
Thought I?d stir up the pot a little bit ;)
The Biggest selling rap album of the 1980?s was not the brilliant Run DMC record ?Raising Hell?. Nor was it Eric B & Rakim?s masterpiece ?Paid in Full?. It was a record made by three young, white, sarcastic guys from New York. Scarier yet, their only musical experience (prior to their massively successful debut) was having been in a punk rock band together. This album they made was called ?Licensed to Ill?. It basically consisted of the three mc?s spitting rhymes that were hardcore to the point of parody overtop of hard rock. The three mc?s called themselves the Beastie Boys, and the Beastie Boys were just getting started.
In the wake of the ridiculous success of their first album, Mike D, MCA, and Ad Rock wanted to do something different. They began writing and recording their second album in California, miles away from home. Wanting to explore new musical ground, they began making changes in their music. They would no longer simply be writing frat boy anthems, and their production would no longer sound like AC/DC playing to a drum machine. The dust brothers were a big help with the latter.
Not yet famous for their work with the Beastie Boys and Beck, the Dust Brothers were an underground production duo. They made rich, layered, and most importantly eclectic beats. Sampling funky bass lines, southern guitars, jazzy piano, spaced-out synth sounds, all above adventurous percussion; the dust brothers created revolutionary songs. This shift towards wildly varied music complemented the new directions the Beasties were about to take lyrically.
Instead of continuing with the worn out clichés that ?License to Ill? was composed of, the group looked to pop culture, a sincere love for the ladies, and simple themes of hanging out for inspiration. Never very serious, but always very clever, the lyrics are Very unusual in the way they performed; they would not take turns verse for verse. They did it line for line. Word for word, on occasion. The interplay of the three mc?s is the most exciting thing about the album?s vocals. They finish each other?s lines without ever cutting the other off; they play off of each other?s ideas with equal fluidity.
Like so many other great albums, ?Paul?s Boutique? was not at all a success upon its release. It was basically ignored, quickly falling from the charts. The worst part is that the album was not at all an attempt to shed their audience; they honestly thought they had created something interesting. Throughout the next couple years, the album became popular within the underground. By the time the Beastie Boys exploded for the second time in the 90?s, ?Paul?s Boutique? was considered one of the greatest alternative hip-hop albums of all time.
Check out this album. Especially if you?ve liked any of the past couple aotw?s.
10-01-2005, 09:45 AM
Waiting for Lazy to stick this....
Album of The Week
311 - EVOLVER
Release Date - July 22, 2003
Produced By - Saint and 311
Nick Hexum - Vocals and Guitar
SA Martinez - DJ and Vocals
Tim Mahoney - Guitar
P-NUT - Bass
Chad Sexton - Drums
Okay, so this album was a change of styles for 311. Fans were used to the old 311 style, rap and upbeat stuff. This album was more of a rock driven record, but was great nonetheless. So here we go. Also, I'm givin' you guys a little secret on this record, just because I like you guys :D
Track One - Creatures (For A While)
This is first single for Evolver, it's a very decent song, but I don't think it should've been a single at all though. It starts off with a pretty solid opening, written by Nick. This song is about just agression, and blowing off stress. Overall this song was just okay, SA's rapping is top notch in this song, but like I said it should not have been a single. [7/10]
Track Two - Reconsider Everything
One of my favorite songs on this record. The opening is great, it was meant to be a straight up punk intro, but Tim came up with his sweet wah lick. Lyrically this song is about thinking though things, and think before you act. So overall this is one of the stand out tracks, on the CD [8.5/10]
Track Three - Crack The Code
This is a very unique song on the CD, one thing about it, is there are many choruses in the song. The intro is a funk bass line by P Nut with a bunch of bell-sounding noises on top of it. SA and Nick share the vocals on this one, both decent sounding. This song is about finding somebody who understands you. Overall, I personally think the insturments are good and all, but the sound isn't really that good at all. The song stands out for it's uniqueness.[7/10]
Track Four - Same Mistake Twice
This song starts with out with a bang, and never dies down at all. It's meant to be a "bouncing punk jam in the spirt of The Clash", one of 311's influences. It's just a straight foward song about the struggles that everyone go through. This is an amazing song, it never dies down, and it's a good pump up song. [8/10]
Track Five - Beyond The Grey Sky
One of the most unexpected tracks for 311. This is an emotional song written by Nick, It's an outpour of emotions from Nick Hexum about his best friend from High School, David Barker, who took his own life. Music-wise this song was going to be an insturmental demo by Tim, called "Jerrybird. But they put the two together, and made a good song. Overall the song is pretty good, the sound is great, and Tim's little jam style works great. [8/10]
Track Six - Seems Uncertain
Well, I must say this a BRILLIANT song. It's mellow, and kinda has a relaxing but sad feeling to it. It's very emotional. The acoustic guitar playing owns on this track and the little keyboard additions complete it. It's about how everyone is divided up and some people just have to give in. Pharell Williams of N.E.R.D described this song as "THE ****" on 311's Liquid Mix Tour. Overall this song is so well written, musicly and lyricly. [9/10]
Track Seven - Still Dreaming
Well, it was drummer Chad Sexton's turn at writing the music on this song, you can tell by the heaviness of the riffs. This is a real, solid song, that just never dies down. This a song that sounds like it should be on 311's older CD, Transister. It has the psychedelic feel and lyrics of it. Overall it's a real solid psychedelic song, that is real underated. [8.5/10]
Track Eight - Give Me A Call
Finally, a 311 song on this CD with the stylee of the old 311. It's real light raggae jam, as they call it. It's a straight foward song, with lots of palm muting on guitar, and has real groovy sound to it. Then there's the little bridge part with the keyboard melody, that just finishes the perfection of the song. Lyrically its a real simple love song with the saying "Give Me A Call" which is just a simple way of saying I'm there for you. Overall, Brilliant song, that never gets old [9/10]
Track Nine - Don't Dwell
A 311 GEM. That's all really need to say. This song is sooooo good. It opens with one of P NUT's greatest bass lines ever. That's later mimiced on the guitars. Then the song just breaks down into the verses and choruses that are just humanly perfect. The guitar on this song, is amazing, the riffage is amazing, all the insturments are perfected. Lyricly it's just about breaking free of the mental loops we get into. Overall, one of the best 311 songs. EVER. I can't stop myself from giving it a perfect 10 outta 10[10/10]
Track Ten - The Other Side Of Things
Another some written by drummer, Chad Sexton, you can tell by the heavy riffage. The song is just in sections of power chord driven guitar parts. And SA singing a catchy melodic chorus, that is brilliantly written. It's a song that doesn't really stand out, but it's great. The chorus is what makes it so great. The lyrics are about taking a new view of things or "The Other Side Of Things". Overall, great song, simple sounding song with a great chorus. [8/10]
Track Eleven - Sometimes Jacks Rule The Realm
This song barely made it onto the CD, it's more of an acoustic song, that is just amazing. It's one of 311's best songs. It's about how life isn't always fair, and sometimes the people who don't want to be in charge, get to be in charge. The first part of the song is on acoustic and it's just Nick singing. Then in leads into this whole different part of the song where a wall of sound just hits you, and Tim comes in with this great guitar solo, that just hits you. Overall this song, is the highlight of the album, so well written. [10/10]
OMFGZ IT'S BONUS TIME
Hidden Track - Coda
Yeah this is a hidden track all on bass written P NUT, it's a real mellow piece of music by P NUT, it's real great bass lick. It's at 5:22 after Sometimes Jacks Rule The Realm, you'll hear the little melody on bass.
Overall this is a great album by 311, if your not a big 311 junkie this shouldn't be your first album get Music, Grassroots for some real 311 stylee.
Overall Rating [9/10]
311.com - "All About Evolver" By, Nick Hexum
My Effing Noggin
- Kyle aka SoupIsGoodFood
11-03-2005, 08:21 AM
In short, Frizzle Fry is BloodSugarSexMagik on acid. Bad acid. The kind that rots your brain out and takes you through a nightmarish bliss of a journey. The first studio record by Primus, it serves as the perfect example of what Primus is about. Yet what they are cannot be described with conventional words, it can only be heard.
The album begins with the faint cymbal hits of "YYZ" (Rush) as suddenly the tape comes to a screecihng halt and a soft bassline draws the listener in. It serves as the perfect segue into the journey that lies ahead. "To Defy The Laws of Tradition" then explodes into a sonic nova. The bass slaps. The minimalist guitar licks. The impossible drum beats being pounded out. At this point, the trio coming out of the speakers is more powerful than most orchastras. Then the lyrics. Les Claypool's voice, certainly an acquired taste, sounds like some kind of bleating redneck babbling on about nonsense. NO matter how ridiculous some songs may be lyrically, they are all still perfectly fitting, this song particularly as it lambastes standards in our very society.
To defy the laws of tradition
Is a crusade only of the brave.
Not only does this ring true to the lyrics, but more importantly, it sets the mood for the odd combination of genres to follow.
As the song fades into the mellow, poppy "Groundhog Day" the listener is at ease until yet again the furious, thrashy genius of the virtuosos on the other side of the speakers blazes from your stereo. The song is followed up by the equally popular "Too Many Puppies", a harsh criticism of the first Bush administration and the Gulf War. This tune has none of the stretched out subtle sections as those before it, but instead is a straightforward balls-to-the-wall moshing song. As they barrel through "Mr. Knowitall" they finally arrive at one of the album's best gems, the self-titled track, "Frizzle Fry". Claypool then formally invites the listener into his demented world of musical chaos.
"Hello all you boys and girls.
I'd like to take you to the inside world.
It's quite an irregular place to be.
But never fear you're safe with me.
... well, maybe."
The song never lets up for a second. The eerie guitar of Ler and Les' unconventional basslines keep trucking as Herb's intricate drum beats try to keep some kind of method to their madness. It has that type of "Stairway to Heaven" buildup. The quiet gradually getting louder until it crescendos into a thrasher's wet dream. Ler, whom Kirk Hammet called "probably the most under-rated guitarist of all time", soars through an amazing solo and the song just keeps getting harder and harder until it just fazes out with only the bass left playing.
You would expect that not to be topped, but the album proves us wrong with the minor hit "John The Fisherman". Afterwards, the short "You Can't Kill Michael Malloy" fades in with the waltzy sounds of a string quartet, but quickly disappears, in my opinion, too soon. "The Toys Go Winding Down" does not hesitate as it bursts through with its psychotic almost Deliverance-esque acoustic riffs but quickly turns into a pounding, heavy song that one wishes would never end. "Pudding Time" seems to be a forgettable song compared to the rest of the record, but I guarantee you'll find yourself humming it days later. Again, the short, acoustic, bizarre side of the band shows in "Sathington Willoughby" which completely leaves the listener unprepared for the massive drum beat that follows in "Spagetti Time", a tale of an unemployed, stoned insomniac and his Mexican friend. Sound odd? It is, but a great listen.
The album begins to end with "Harold of the Rocks", an uplifting funky tune. The record then comes full circle with "To Defy", a very short, incoherent mess of the first song. A perfect way to end the record. Bringing us back to our starting point. We then wonder what just happened to us and if what we heard was real. The soundscapes on this disc can provoke just as much thought as a philosophical debate. Not many bands can acheive that. No one has sounded like them before. No one since. To sum their originality up, open up your p2p program, go to the search and look for one other band who has earned their own genre.
Note: This review is based on the original recording of Frizzle Fry, not including the two additional Residents' covers from the remastered version. Both great tracks.
Check 'em out.
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