Your Friday morning moment of joy: Diarrhea Planet playing “Born to Run” with Patrick from Titus Andronicus on vocals.
— The Inevitable Question by Marcelo Gleiser
Salvador Dalí, Galatea of the Spheres, 1952
|Erin:||I have to run a few errands after work|
|Josh:||I need to run one as well|
|Josh:||nope, just for me|
|Josh:||I'm gonna go buy some Nutella and eat it all before I get home|
|Josh:||that's my errand|
|Erin:||that's the meanest thing you've ever said|
Who needs coffee on a Monday morning when there’s A$AP Rocky with Araabmuzik and A-Trak?
Trash Talk has the youth, vigor and aggression of hardcore punk under their thumb. Rather than recycling the same songs and sounds that similar bands in the recent past have already overused, they take the gritty screams and buzzy guitars to new sonic heights.
Beyond that, 119 has the band breaking out of the hardcore mold in other ways; Blossom & Burn has guest verses by Tyler the Creator and Hodgy Beats. It scratches an itch that Southern California skaters who love both hip-hop and punk have had for years, but without crossing over into the embarrassing, early-2000s attempts at making rapcore a thing.
If you grew up on The Chariot or Converge and are looking to reminisce about the youthfulness without having to recall the dated scene haircuts and girl jeans, Trash Talk has you covered.
Swans serve as a sort of vocals-allowed alternative to Godspeed You! Black Emperor. All the anarchy, chaos and noise, but with the addition of Michael Gira’s dark-as-hell voice laid over the top.
Coming in at a whopping 1 hour and 59 minutes, The Seer is clearly the culmination of decades of work by the band to reach new highs and lows. It’s a pinnacle for the group, not only in sheer length, but also in its dynamics. It’s as though the band was waiting around for recording studios to invent the tools necessary to create the masterpieces that have been swimming in their head since the early 80s.
This is true noise, in volume and range and depth. Recommended to be heard over an extremely loud soundsystem or the best headphones money can buy.
Liars has been an intriguing sort of noise since Drum’s Not Dead was released to critical acclaim in 2006. They have had a way of subversively spinning their own sound into new territories for each album. What used to be guitar-heavy chaos has since shifted to a dark take on electronic music, which is where we find the band on WIXIW.
Angus Andrew’s voice may be the only constant in all that. Somewhere between uncaring and drugged-up paranoia, he moans and shouts like the tail end of a nightmare. Tracks like “Octagon” play into this even more; it’s the soundtrack to that feeling of being chased through a dream. Meanwhile, songs like “Brats” are so housey they’re practically danceable.
WIXIW is worthy of several listens for both longtime Liars fans and those who seek out the more subversive sort of electronica.