Chocolate Pressings

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I don't want to just repeat what I read at www.disinfo.com but this is amazing. If the price was reasonable enough to listen to and then eat a record, I would be all in.





Your friend,


DHAGS

I'm forgetful and Lazy

I nearly forgot that this blog existed. Luckily, my friend Corey has not and has been regularly updating the B.E.A.R.D. with great reviews!

Anywho...

Tyler the Creator and the era of

OFWGKTA

Everyone seems to be riding hard on the collective dick that is Odd Future Wolf Gang Kill Them All. The LA based hip-hop collective has seen an immense amount of popularity in 2011. This is mostly because of the group's head, Tyler the Creator.

I first heard Tyler the Creator in January of this year. Yeah, so I'm a little behind. Nevertheless, upon first listening, I looked at my girlfriend and said, This guy is going to blow up. I guess I wasn't aware that he already had.

Now having made appearances on Jimmy Fallon's show, MTV and even the mother fucking BBC, Tyler the Creator and his crew of extremely clever misfits are on their way to the top. Which seems a little strange given the deviancy of his lyrics and the suggestive nature of his live show. Let's face it, the majority of Americans don't seem to be very interested in the pent up aggression of a young black man like Tyler. But if I can empathize to some degree, I guess others can too. Even if the subject matter isn't what people are latching on to, I can see several other very viable reasons for loving Mr. The Creator.

For one, his 'flows' are retarded solid. He's not obsessing over AB rhyme schemes which 95% (not a real stat) of popular rappers seem to be enamored with. Tyler ventures around in a lyrical wonderland of half-rhymes and dead end sentences that drop you off in the most unusual places. For instance, in his single 'Yonkers' from his latest album Goblin: "I'm a fuckin' walkin' paradox, no I'm not

Threesomes with a fuckin' triceratops, Reptar
Rappin' as I'm mockin' deaf rock stars
Wearin' synthetic wigs made of Anwar's dreadlocks
Bedrock, harder than a muthafuckin' Flintstone
Makin' crack rocks outta pissy nigga fishbones
This nigga Jasper tryna get grown
About 5'7" of his bitches in my bedroom
Swallow the cinnamon, I'mma scribble this sinnin' shit
While Syd is tellin' me that she's been gettin' intimate with men
(Syd, shut the fuck up) Here's the number to my therapist
(Shit) Tell him all your problems, he's fuckin' awesome with listenin' "

This obviously isn't the latest Lil' Jon hit. There's a deep understanding of writing at play here that, I would venture to say, most people his age just can't grasp. Tyler is terribly imaginative and intelligent. Yet, it seems that most people that I talk to who have listened to his stuff seem to think that it's awfully childish. I don't necessarily disagree, or agree for that matter. Most young men have an affinity for potty mouth musings. This is nothing new. Still, you can't deny the skill.

Tyler seems to have a troubled past. Among many other issues, he lacks a relationship with his father and that truly bothers him. But, I'm not here to psychoanalyze the guy. I merely appreciate his honesty. I wish that more artists were capable of saying exactly what they feel. Instead, most rappers these days tend to indulge in "I've got more money and bitches than you" rants and dick measuring contests. On that level, if you have any love for hip-hop, you have to at least appreciate where Tyler the Creator is coming from.

What can I say about Tyler or his group of godless heathens that Pitchfork or STUPIDDOPE hasn't? I have nothing truly original to say so I'll leave it at this (because I'm too tired to give a shit about writing eloquently), Tyler the Creator and Odd Future are most definitely going places and if they can keep a tight grip on who they are and not allow money to blind their creativity, they will go down as gods of the hip-hop game. They're extremely talented young people with a lot of room to grow into extremely talented and respected old people. Good luck to OFWGKTA in their future musical endeavors. Oh and Tyler, kick Kanye's ass like you promised.

Your friend,

DHAGZ

Corey's Decade list 30-20

30. Isis - In the Absence of Truth

Narrowing down the decades best releases from one of the decades greatest bands may not be easy, but choosing In the Absence of Truth may have come more naturally to me than many would believe. Despite the fact that this was an Isis album that would open them up to a host of new fans that would have been previously unaware of their sludge meets post-rock efforts, it still wasn't held in the highest regard by old school Isis fans. That is because itAoT is a noticeably more melodic and progressive album in general, although when truly judged by its musical merits, its also one of the band's greatest achievements. The enticing buildup of opener "Wrists of Kings" doesn't continually build and slowly gain volume like one of Isis' former songs might have, instead it works its way into a beautiful mid-tempo groove with Aaron Turner singing instead of screaming. Its a bit of a change, but as soon as an actual verse and chorus are demonstrated twice the bottom drops out and the listener is suddenly kicked into the distorted, climactic ending that they've been waiting for. Its moments like these that show that Isis' did some of their finest and most forward-thinking songwriting on this album. The Opening bass riff of "Not in Rivers, but in Drops" is still one of the most hypnotic things I've ever heard in my entire life and the rest of the song is absolutely trance-inducing with its ethereal, yet always clever twists and turns. They drift off into heart-stopping space metal on "Over Root and Thorn" and "1,000 Shards", and tracks like "Garden of Light" are full of power and commanding presence. The band members performances were at some of their best as well, with drummer Aaron Harris' roomy fills and excellent drum tones being one of my favorite components of the album. The comparisons to Tool would not stop of course as a healthy dose of prog into their trademark combination of post-rock and sludge metal certainly did give them somewhat of a resemblance, but I don't think there's any use wasting time on comparisons here. Isis were something all their own on this album, just the way they've always been.

29. Intronaut - Prehistoricisms

LA progressive metal group Intronaut had hinted at great things within the first couple of years of their career but were still yet to truly fall into their own until this full-length masterpiece. Their first release for Century Media and the first to truly showcase the band's progressive muscle that would expand their sound to uncharted territory, Prehistoricisms was an abrasive yet forward-thinking and highly enjoyable musical statement. Sludge, prog, jazz, fusion, and Indian music all seem to meld together so harmoniously that its almost scary, as is Intronaut's ability to make bizarre time meters groove hard on tracks like "The Literal Black Cloud". They also display a knack for taking something from punishing to jaw-droppingly beautiful on song like "Austropalithicus" which shows come pretty adventurous writing, maybe even more so for an extreme metal band. The prehistoric theme of the album is also brought to life through the dual percussion onslaught at the end of "Any Port" and the range of music explored on the mind-bending 17 minute instrumental "The Reptilian Brain" should win some kind of award for one of the greatest unsung psychedelic metal songs (Joe Lester's fretless bass and Middle Eastern melody and rhythm techniques add a truly unique flavor here). Prehistoricisms might not be for everyone but it was just what I needed, and it was also the start of an exciting evolution for this band.

28. Raekwon - Only Built 4 Cuban Linx Pt. 2

New York Wu-affiliated MC Chef Raekwon took his time for the follow up to one of the greatest hip-hop records of the 90s, but once the end result was dropped in 2009 I don't think anyone was complaining. Only Built 4 Cuban Linx Pt. 2 hearkens back to the greatest days of New York hip-hop and still manages to stay relevant at the same time. Its a thorough look at great hip-hop that slays almost anything in the genre thats been released in the past decade. Rae and Ghosts' most unrelenting crime stories yet are brought to life by perfectly fitting production and beats by everyone from Dr. Dre to Dilla, and its the kind of album that has enough staying power and replay value to warrant a place in any hip-hop fan's collection. Rae does some of his best rhyming here and the other Wu-emcees make everyone feel right at home. Cuban Linx Pt. 2 is full of classic songs, whether its "New Wu", "Sonny's Missing", "Ason Jones" (one of the best O.D.B. tributes ever) or any of the other countless memorable tracks from the album, you can't miss. Although the best thing about it is that it truly feels like a record, and its meant to be experienced that way from start to finish.

27. King Geedorah - Take me to your Leader

Only when dealing with an artist like MF Doom and his cohorts is it possible that one of the greatest hip-hop albums of the decade would be released by a short-lived moniker that only did one album. With that being said, King Geedorah's Take me to your Leader stands amidst the enigmatic MC's vast catalogue as some of his greatest work ever. Consisting largely of guest rappers and unique, eclectic samples taken from sources such as Godzilla movies and the anime series Gatchaman, Take Me to your Leader follows its name in the sense that it is truly like alien hip-hop, refreshing and profound. Its the kind of eclectic, creative record that one stumbles upon and listens to non-stop for months on end.

26. Between the Buried and Me - Alaska

While it might not be as open-minded of a musical expression as Colors was, there's no denying that Between the Buried and Me flexed some of their strongest prog-metal muscle on Alaska. Alaska was the album that proved that this NC group wasn't just another fly-by-night metalcore band, but a group of misfits that still oddly fit in almost wherever they went. The opening track "All Bodies" has all the components of a devastatingly good progressive death metal song; its not just the shredding and odd time meters, its the riffs that truly stick with you. The band also began breaking free from their former genre's parameters by introducing some daring elements (for a Victory band anyway) in the form of the chilling dream-rock section in "Backwards Marathon" and the Brazillian acoustic jazz of album-ender "Lazer Speed". True story: did you know that when I first bought this album and took it home to listen to it that the instrumental section at the end of "Selkies: the Endless Obsession" literally left my mouth open and almost brought tears to me eyes? I had to replay it instantly, and I'm sure I did many times after that.

25. Mastodon - Leviathan

Some may consider it heresy that Mastodon's debut Remission did not make it onto my decade list. Well before it comes to fisticuffs know that I agree that its an excellent album, but this Atlanta, GA quartet pulled out all the stops on their sophomore effort. Leviathan is the kind of album that renews the faith of thousands when hope for modern metal was truly waning, an album that marries heavy and smart in a completely non-cliche and non-fashionable way. Leviathan opens with one of the most infectious and mosh-able songs of the decade; "Blood and Thunder" before the growing Black Sabbath and Thin Lizzy influence keeps "Seabeast" tough, yet melodic. While Mastodon hadn't fully shifted into prog yet, their dedication to progressing as musicians was already evident as not only was the band's writing stronger and more adventurous, but Bret Hinds' and Troy Sanders' vocals had already come a long way and would continue to grow from here. The record is pure classic from start to finish, but its true shining moment is none other than the 13 minute epic "Hearts Alive". As eight-armed drummer Brann Dailor pounds his way through alien rhythms the song develops the way a true progressive rock song should, and there's even a little Skynyrd tribute in Brent's climactic solo. I'd also like to see anyone argue their way out of tracks like "Iron Tusk" and "I am Ahab" being some of the most punishing that Mastodon has ever done.

24. Minus the Bear - Planet of Ice

Its certainly been argued by me before that depending on what you're in the mood for, three of Minus the Bear's albums: Highly Refined Pirates, Menos el Oso, and Planet of Ice, are all equally excellent in quality. While I've believed this to be true at times, deep down I've always felt as if Planet of Ice truly stood above the rest as Minus the Bear's crowning achievement. While perhaps not as pure as the addictive math-pop of Highly Refined, or as hip as the polished glitch-hop rock of Menos el Oso, Planet of Ice still left me utterly stunned with its addition of shimmering prog into the band's already highly agreeable formula. Planet of Ice shows the band's evolved songwriting pushing the catchiness level to pandemic levels while still adding complexity and depth. The album truly paints a picture with its lush keyboard landscapes and shimmering, ether-worldly guitar tones. Opening song "Burying Luck" improved upon what MtB had already done in previous records, while songs like "Dr. L'ling" and "Lotus" are spacey and enjoyable enough in their prog-pop to make David Gilmour smile. Besides, the sheer joy from "Throwin' Shapes" is like sugar to the ears, yet another reason why Minus the Bear have set a high an extremely high bar for themselves with this one.

23. The Flaming Lips - Yoshimi Battles the Pink Robots

While these Oklahoma acid-rockers were already a well-established cult favorite in the decade prior, it still often feels like The Flaming Lips career is sometimes spoken about in terms of before and after Yoshimi Battles the Pink Robots. It could be because Yoshimi was not only a huge breakout album, but a complete masterpiece. Picking up where the Soft Bulletin left off with the Lips' new approach that would define mostly electronic alternative pop for the rest of the decade, Yoshimi Battles the Pink Robots is the perfect marriage of modern pop sensibility and brilliant, slight psychedelic genius. Wayne's friendly voice draws you in the instant you hear it on the whimsical melodies of opener "Fight Test", a song so utterly infectious that you've lost all hope of breaking free by the time it reaches the first chorus. Even in the more melancholy moments like "One More Robot/Sympathy 3000-21" (which features a truly stunning ending) the Lips still manage to push through to your heart in only a way that a band that writes songs about robots learning to love can. Everything on this album literally comes together perfectly, as evidenced by the fact that "Do You Realize?" has become sort of an anthemic celebration of life amongst alternative music fans (its also Ohio's state song). Yoshimi doesn't miss, every track is gold, and whether or not its your favorite Lips record, its not only a defining moment in this legendary psych-rock band's 20 plus year history, it stands as one of the greatest albums period.

22. Pedro the Lion - Control

David Bazaan's relatability has helped make him one of the greatest musical minds to come along in quite some time. And while the story of a successful business who has an affair and is then murdered by his wife might not be relatable to everyone reading this, his knack for stripping things down to a common language and taking all the flowerie-ness of the common "indie" singer songwriter is what makes him such a relevant and essential artist. Here Bazaan appears as he always does, surprisingly calm and collected through his often dark lyrics and timeless songs. Bazaan steps slightly outside of the minimalistic and mostly acoustic approach of his previous records to deliver for all intents and purposes; a rock album, but its one thats still introspective and thoughtful enough to hit harder than the efforts that most indie rock bands can muster. Bazaan's aching low voice is at its best here and the arrangements are simple yet fully realized to their potential. Despite the many gems in Pedro the Lion's back catalogue, Control will always stand out to me as their finest moment. "Wouldn't it be so wonderful, if everything were meaningless. But everything is so meaningful, and most everything turns to shit. Rejoice." Doesn't exactly sound like the words of someone who wrote such a golden album, but then again he knows what he's talking about. He's one of us.

21. Jesu - Conqueror

Who would have known that grindcore godfathers Napalm Death's first guitarist would go on to make the soundtracks to your life's most emotional moments twenty years later? Indeed, Justin Broadrick has been many things, including industrial/sludge hero in the legendary band Godflesh, but he's also been the new king of shoegaze after channeling some of that aggression into his newest electronic/post-metal project Jesu. Conqueror's dream-rock achieves a hypnotic effect that very little music can, while it doesn't sound like it on paper, the combination of crushing guitars, swirling electronics, and soft, dreamy vocal melodies come together to create something that can make your ears bleed and your eyes watery. For a guy who isn't typically thought of as a post-rock writer, Broadrick knows how to use simplicity to create heart-stopping buildups like few others. The sheer intensity of the anticipation in songs like "Weightless and Horizontal" is enough to create a truly mind-altering voyage even without the drugged-out electronic panning effects. Listening to Conqueror again and again one thing is truly evident; there will never be another band quite like Jesu.

20. Made ouf of Babies - The Ruiner

"If you believe in such things then start praying..." hiss

es/pants Julie Christmas at the beginning of the song "Peew", track 8 on Made out of Babie's third LP The Ruiner. The warning could have come a bit sooner. At this point in the album we've already been trampled by barrages of jarring guitars, distortion coated bass, and of course the vocals of one of music's most refreshing, creative, and terrifying female singers. Brooklyn, NY quartet Made out of Babies struck gold on The Ruiner with a truly innovative, yet simple formula. If I had to describe MooB to anyone who had never heard them I'd say imagine a three-way cross between Neurosis, The Jesus Lizard, and Bjork. Falling somwhere between post-metal and art punk, The Ruiner is truly difficult to compare to anything else I've ever heard. And its not all harshness either. The melodic ending half of "Invisible Ink" is beautiful, smart, and surprisingly simple all at the same time, its a nice contrast to the next track "The Major" which features dark, creeping riffs underneath Christmas' haunting vocals that eventually build to a truly bludgeoning climax. Of course Christmas is the star here, her ability to bring different personalities to life with her shapeshifting voice never ceases to amaze. Unfortunately I have to quote Revolver magazine here, even though I'd rather not it could be the most astute observation they've ever made about anything: "Its called The Ruiner because it makes everything else sound lame." Very true words.

Next time its 19-10, thanks for reading!

Corey

Album reviews March 2011

Some recent stuff I've been spinning that I thought I would review:

Maserati - Pyramid of the Sun

Depending on who you talk to and which album you are referencing, Athens, GA's Maserati can be described a number of different ways. Most often described as "instrumental post-rock", they're still a good deal different from the reverbed-out, dramatic buildups that lead some bands of that particular genre into elliciting yawns. Pyramid of the Sun is the tribute to Maserati's tragically departed drummer Jerry Fuchs who was lost in an elevator accident in late 2009 and who's drumming can be heard on Pyramid of the Sun.

The fact that Fuchs has worked with dance-rock group !!! shouldn't come as much of a surprise after hearing PotS, as its instantly noticeable as a harder-grooving album with its strong 80s synth-pad presence and its further deviation from typical post-rock writing. Fuchs and bassist Chris McNeal come together to create tight, danceable rhythms that allow guitarists Coley Dennis and Matt Cherry to let their effected riffs truly flow and intertwine. Delays that create almost ping pong-esque bouncing along with a myriad of other effects let the guitar melodies truly shimmer, and the band layers and builds enticing sounds not unlike what other post-rock bands specialize in. However this is still a much more to-the-point affair compared to other bands of the genre, the album even carries a more fun and experimental vibe than some of Maserati's former work like 2007's epic Inventions for the New Season. If Maserati are indeed creating movie soundtrack music then think less Explosions in the Sky and more as their label Temporary Residence calls it: "A relentless, bloodshot 3 A.M. soundtrack to a car chase beneath city lights." But no matter what your taste, this is some pretty enjoyable and accessible music, proven by the fact that they've shared the stage with acts as different and diverse as jam band Sound Tribe Sector 9 and Japanese chamber-rock heroes Mono.

The only thing wrong with Pyramid of the Sun is that its leaves more to be desired, which is not to take away from the quality of the album. Its to simply say that at 8 tracks it just makes you want more of their music, which isn't necessarily a bad thing. Especially if you enjoy pentatonic space-rock riffing you get on tracks like "We Got the System to Fight the System" as much as I do.

rating: 8/10

I'm not sure who I would recommend this for, but like the band sort of alludes to in their bio, this might be right up your alley if you've ever imagined David Gilmour and The Edge collaborating with Daft Punk.

Crippled Black Phoenix - I, Vigilante

Crippled Black Phoenix are a still mostly unheard European post-rock collective that makes some really great music. They've put out a few records already, but for those who still aren't familiar with them the group contains members from bands as diverse as Mogwai and English stoner-metal/doom legends Electric Wizard. An odd coming together indeed, especially when mystery around the band has apparently started rumors that they are actually a Portishead side project (which will make even less sense after you hear them).

Anyway, their latest offering is a full-length LP titled I, Vigilante that sort of picks up where their last album 200 Tons of Bad Luck left off. CBP are another band that really can't be pigeonholed. Any band with a large number of musicians from different backgrounds is bound to stray outside genre parameters, although if I had to describe their music as anything I'd call it: "minimalist folk-prog dirges". The songs tend to go long and build up a good bit, but CBP are still far from a typical post-rock band. The heavy opening riff of aptly titled opener "Troublemaker" leads the song in both a soulful and sinister direction. The second track "We Forgotten Who We Are" is one of CBP's finest yet, the latter half featuring a winding piano run that accentuates the powerfully building climax showing an epicness that this band has really yet to display. Its the perfect mix of post-rock cinematics and classic rock groove, and its something that bands should do right more often. CBP somehow manage to stay both mellow and intense throughout I, Vigilante, and the band throws some curveballs towards the end. The soulful female vocals and weeping minor duel guitars played commandingly over a bed of synth/organ on "Of a Lifetime" would seem like the perfect ender until a) you realize that this is somehow a cover of an old Journey song and its still amazing and b) the album actually ends with a rather whimsical cover of "Burning Bridges" by Mike Curb Congregation from the Clint Eastwood movie Kelly's Heroes. A little strange yes, but Crippled Black Phoenix are a band that no one should overlook, and I, Vigilante is yet another great offering from them.

rating: 8/10

recommended for fans of: Blueneck, A Whisper in the Noise, and early 70's Pink Floyd

Ghostface Killah - Apollo Kids

Ghostface Killah is one of those musical artists that almost releases music too fast for someone like me to keep up with. He seems to have an album per year quota (or at least it seems that way when you combine his releases with his prominent appearances on albums like Only Built 4 Cuban Linx pt. 2 and Wu-Massacre), the astonishing part being that each one never lacks in quality. Whether or not Ghost is your favorite Wu-emcee, the quality of his approach to pure NY hip-hop is hard to argue with.

Ghost's swift flow is given a huge helping hand by the construction of actual songs, much like the way it was on albums like 2006's superb Fishscale. Tracks like "Superstar" and "2getha Baby" contain memorable hooks, beats, and choruses that elevate the raps to "song" status while always retaining the feel of true gritty hip-hop. Its this balance of accessibility that will draw many to this album like much of his former music. And as always, lyrical themes stick closer to girls that some of his gritty, crime-story spitting cohorts. The lyrical and musical highlight of the album comes in the form of "In the Park", Ghosts' ode to the origins of hip-hop and call to modern rappers to remember where they came from.

Apollo Kids is truly great

through and through, but with such an impressive back catalogue its hard to say how it stacks up to some of Ghosts' finer records and whether or not it truly stands out as "essential". Although it is that time of year again, so if you're needing your Ghost fix then you already know that this is essential enough to warrant a trip to the record store.

rating: 8/10

recommended for fans of: Nas, Method Man, Chef Raekwon

sorry to be so repetitive with the ratings but they were all of consistent quality this time around. Who knows, maybe next time you'll get lucky and I'll find something that truly disgusts me.

Thanks for reading!

C McD

Corey's decade list part 1

I'm about a year late on this, but I didn't really have a place to post it until now. And while its true that Tbots beat me to the punch I still wanted to go through with posting my list of my favorite albums of the past decade. Creating this list was difficult, mostly because opinions do change about certain bands/albums as one crosses from teenage years to adulthood, but also because it was hard to decide on just 50 albums. I could have went on and had a much larger number as there are many albums that aren't on here that still deserve some credit, but I'll try to give notice to as many as I can. For this list I looked for albums that took me back to a certain place and time, something that I know had a huge impact on me at the time I heard it even if the impact has lessened since. I tried to do a fair a job as possible with this so I hope you enjoy.

50. Beloved- Failure On

49. He is Legend - I am Hollywood

48. Zao- the Funeral of God

47. Protest the Hero- Fortress

46. Baroness - Blue Record

45. Torche - Meanderthal

44. Botch - We Are the Romans

43. Coldplay - Rush of Blood to the Head

42. At the Drive In - Relationship of Command

41. Atmosphere - Seven's Travels

40. Jurassic 5 - Quality Control

39. Converge - Axe to Fall

38. Between the Buried and Me - Colors

37. Queens of the Stone Age - R

36. Extol - Undeceived

35. Mastodon - Crack the Skye

34. Pinback - Blue Screen Life

33. Open hand - You and Me

32. The Fall of Troy- Doppleganger

31. Gnarls Barkley - St. Elsewhere

Other notable mentions:

Mogwai - Rock Action

Godspeed You! Black Emperor - Lift Your Skinny Fists like Antennas to Heaven

Black Mountain - In the Future

Astra - The Weirding

Norma Jean - Bless the Martyr and Kiss the Child,

Enslaved - Runn

Neurosis - Given to the Rising

Ghostface Killah - Fishscale

Isis - Panopticon

Eisley - Room Noises

Starflyer 59 - Old

Joy Electric - The White Songbook

He is Legend - Suck out the Poison

Gospel - Moon is a Dead World

Blindside - About a Burning Fire

David Gilmour - On an Island

Opeth - Ghost Reveries

Queens of the Stone Age - Songs for the Deaf

Minus the Bear - Highly Refined Pirates

Minus the Bear - Menos El Oso

Pelican - the Fire in our Throats will Beckon the Thaw

MewithoutYou - Catch for us the Foxes

Project 86 - Songs to Burn Your Bridges by

Next time, for 30-20 I'll have write ups on the albums. Until then, cheers

Corey