Sonic Youth Gossip - Best new/most anticipated albums: 2018

Sonic Youth Gossip (http://www.sonicyouth.com/gossip/index.php)

- Non-Sonic Sounds (http://www.sonicyouth.com/gossip/forumdisplay.php?f=4)

- - Best new/most anticipated albums: 2018 (http://www.sonicyouth.com/gossip/showthread.php?t=116384)

Quote:

Originally Posted by The Soup Nazi

Just to clarify: I wasn't suggesting that the box set should use the same artwork as the original Blood On The Tracks, just something better and more pertinent than what we're seeing.

I dig, man. I dig.
Personally, I thought the artwork was kind of eye-catching and cool when I first saw it, but now that you mention it, it *feels* nothing like Blood on the Tracks. So I guess I’m with you on this one.

The new Beak > album — which is actually called “>>>” — is pretty interesting and easy to krautjam out to. Would kill for a Portishead album, but I’m good with anything Geoff Barrow wants to release at this point.

Worth a listen. Good stuff.

Oh man, this is gonna be MEGATONIC. Tracklisting for the 6 CD edish of More Blood, More Tracks:

DISC 1
A & R Studios
New York
September 16, 1974

If You See Her, Say Hello (Take 1) – solo
If You See Her, Say Hello (Take 2) – solo – previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
You’re a Big Girl Now (Take 1) – solo
You’re a Big Girl Now (Take 2) – solo
Simple Twist of Fate (Take 1) – solo
Simple Twist of Fate (Take 2) – solo
You’re a Big Girl Now (Take 3) – solo
Up to Me (Rehearsal) – solo
Up to Me (Take 1) – solo
Lily, Rosemary and the Jack of Hearts (Take 1) – solo
Lily, Rosemary and the Jack of Hearts (Take 2) – solo – included on Blood on the Tracks test pressing

Bob Dylan – vocals, guitar, harmonica

DISC 2
A & R Studios
New York
September 16, 1974

Simple Twist of Fate (Take 1A) – with band
Simple Twist of Fate (Take 2A) – with band
Simple Twist of Fate (Take 3A) – with band
Call Letter Blues (Take 1) – with band
Meet Me in the Morning (Take 1) – with band – edited version included on Blood on the Tracks test pressing and previously released on Blood on the Tracks
Call Letter Blues (Take 2) – with band – previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
Idiot Wind (Take 1) – with bass
Idiot Wind (Take 1, Remake) – with bass
Idiot Wind (Take 3 with insert) – with bass
Idiot Wind (Take 5) – with bass
Idiot Wind (Take 6) – with bass
You’re Gonna Make Me Lonesome When You Go (Rehearsal and Take 1) – with band
You’re Gonna Make Me Lonesome When You Go (Take 2) – with band
You’re Gonna Make Me Lonesome When You Go (Take 3) – with band
You’re Gonna Make Me Lonesome When You Go (Take 4) – with bass
You’re Gonna Make Me Lonesome When You Go (Take 5) – with band
You’re Gonna Make Me Lonesome When You Go (Take 6) – with band
You’re Gonna Make Me Lonesome When You Go (Take 6, Remake) – with band
You’re Gonna Make Me Lonesome When You Go (Take 7) – with band
You’re Gonna Make Me Lonesome When You Go (Take 8) – with band

Bob Dylan: vocals, guitar, harmonica
Eric Weissberg, Charles Brown III, Barry Kornfeld: guitars
Thomas McFaul: keyboards
Tony Brown: bass
Richard Crooks: drums
Buddy Cage: steel guitar (5-6)

DISC 3
A & R Studios
New York
September 16, 1974

Tangled Up in Blue (Take 1) – with bass

A & R Studios
New York
September 17, 1974

You’re a Big Girl Now (Take 1, Remake) – with bass and organ
You’re a Big Girl Now (Take 2, Remake) – with bass, organ, and steel guitar –included on Blood on the Tracks test pressing and previously released on Biograph
Tangled Up in Blue (Rehearsal) – with bass and organ
Tangled Up in Blue (Take 2, Remake) – with bass and organ
Spanish is the Loving Tongue (Take 1) – with bass and piano
Call Letter Blues (Rehearsal) – with bass and piano
You’re Gonna Make Me Lonesome When You Go (Take 1, Remake) – with bass and piano
Shelter From The Storm (Take 1) – with bass and piano – previously released on the Jerry McGuire original soundtrack
Buckets of Rain (Take 1) – with bass
Tangled Up in Blue (Take 3, Remake) – with bass
Buckets of Rain (Take 2) – with bass
Shelter From The Storm (Take 2) – with bass
Shelter From The Storm (Take 3) – with bass
Shelter From The Storm (Take 4) – with bass – previously released on Blood on the Tracks

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass
Paul Griffin: keyboards (2-9)
Buddy Cage: steel guitar (3)

DISC 4
A & R Studios
New York
September 17, 1974

You’re Gonna Make Me Lonesome When You Go (Take 1, Remake 2) – with bass
You’re Gonna Make Me Lonesome When You Go (Take 2, Remake 2) – with bass – previously released on Blood on the Tracks

A & R Studios
New York
September 18, 1974

Buckets of Rain (Take 1, Remake) – solo
Buckets of Rain (Take 2, Remake) – solo
Buckets of Rain (Take 3, Remake) – solo
Buckets of Rain (Take 4, Remake) – solo

A & R Studios
New York
September 19, 1974

Up to Me (Take 1, Remake) – with bass
Up to Me (Take 2, Remake) – with bass
Buckets of Rain (Take 1, Remake 2) – with bass
Buckets of Rain (Take 2, Remake 2) – with bass
Buckets of Rain (Take 3, Remake 2) – with bass
Buckets of Rain (Take 4, Remake 2) – with bass – previously released on Blood on the Tracks
If You See Her, Say Hello (Take 1, Remake) – with bass – previously included on Blood on the Tracks test pressing
Up to Me (Take 1, Remake 2) – with bass
Up to Me (Take 2, Remake 2) – with bass
Up to Me (Take 3, Remake 2) – with bass
Buckets of Rain (Rehearsal) – with bass
Meet Me in the Morning (Take 1, Remake) – with bass – previously released on the “Duquesne Whistle” 7” single
Meet Me in the Morning (Take 2, Remake) – with bass
Buckets of Rain (Take 5, Remake 2) – with bass

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass (1-2, 7-20)

DISC 5
A & R Studios
New York
September 19, 1974

Tangled Up in Blue (Rehearsal and Take 1, Remake 2) – with bass
Tangled Up in Blue (Take 2, Remake 2) – with bass
Tangled Up in Blue (Take 3, Remake 2) – with bass – included on Blood on the Tracks test pressing and previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
Simple Twist of Fate (Take 2, Remake) – with bass
Simple Twist of Fate (Take 3, Remake) – with bass – previously released on Blood on the Tracks
Up to Me (Rehearsal and Take 1, Remake 3) – with bass
Up to Me (Take 2, Remake 3) – with bass – previously released on Biograph
Idiot Wind (Rehearsal and Takes 1-3, Remake) – with bass
Idiot Wind (Take 4, Remake) – with bass
Idiot Wind (Take 4, Remake) – with organ overdub – included on Blood on the Tracks test pressing and previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
You’re a Big Girl Now (Take 1, Remake 2) – with bass
Meet Me in the Morning (Take 1, Remake 2) – with bass
Meet Me in the Morning (Takes 2-3, Remake 2) – with bass

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass

DISC 6
A & R Studios
New York
September 19, 1974

You’re a Big Girl Now (Takes 3-6, Remake 2) – with bass
Tangled Up in Blue (Rehearsal and Takes 1-2, Remake 3) – with bass
Tangled Up in Blue (Take 3, Remake 3) – with bass

Sound 80 Studio
Minneapolis, MN
December 27, 1974

Idiot Wind – with band – previously released on Blood on the Tracks
You’re a Big Girl Now – with band – previously released on Blood on the Tracks

Sound 80 Studio
Minneapolis, MN
December 30, 1974

Tangled Up in Blue – with band – previously released on Blood on the Tracks
Lily, Rosemary and the Jack of Hearts – with band – previously released on Blood on the Tracks
If You See Her, Say Hello – with band – previously released on Blood on the Tracks

Damn SN, thanks for making that unquotable.

Yeah, that’s a damn appealing tracklist. I haven’t personally purchased a Bootleg Seires entry since 2010 (I think), but I’m tempted on this one.

These tend to have some seriously good finds in them, too. Not sure if you know this, but the best version of “One Too Many Mornings” ever recorded turns up on the 1966 “Royal Albert Hall” entry.

Goddamn Dylan, man.

Quote:

Originally Posted by Severian

Not sure if you know this, but the best version of “One Too Many Mornings” ever recorded turns up on the 1966 “Royal Albert Hall” entry.

Are you kidding me? Ya think I started listening to Dylan yesterday and that my first album was Empire Burlesque or some shit? Fuckin' A the "One Too Many Mornings" from The Bootleg Series Vol. 4 is the greatest! It's just... fuckin'... VOLCANIC is what it is. And Danko (or is it Manuel? Both?) adding raw, almost desperate backing vocals to the end of each chorus... MAN OH MAN.

[dies]

Out November 30: Jeff Tweedy, WARM.

https://mailchi.mp/wilcoworld/new-je...bum-out-nov-30

Quote:

"Essential Jeffness" is the term George Saunders uses to describe Jeff's new solo album WARM, and we think you'll agree.

Available for preorder now, WARM features 11 new songs by Jeff (with additional drums by Spencer Tweedy + Glenn Kotche).

Head over to The New Yorker to read the full liner notes by George Saunders, plus check out the single and video for "Some Birds."

Quote:

Originally Posted by The Soup Nazi

Out November 30: Jeff Tweedy, WARM.

https://mailchi.mp/wilcoworld/new-je...bum-out-nov-30

N
O
I
C
E

Quote:

Originally Posted by Severian

N
O
I
C
E

Indeed. And just a couple of weeks before that his "memoir" comes out, so it's gonna be Tweedin' cooliosity galore.

Having said that... I think I would like my favorite artists to stop releasing new stuff for, I dunno, six months or something so I can CATCH THE FUCK UP. I mean, guys, please, cool it with the new shit for a bit — my wallet is A-HURTIN'... :(

Best new/most anticipated album TWENTY-NINETEEN, muthafuckas!

http://jagjaguwar.com/release/JAG331/

https://sharonvanetten.bandcamp.com/...nd-me-tomorrow

Quote:

Sharon Van Etten's Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Sharon Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage.

"I wrote this record while going to school, pregnant, after taking the OA audition," says Van Etten. "I met Katherine Dieckmann while I was in school and writing for her film. She's a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City, she said 'you're going to be fine. Your kids are going to be fucking fine. If you have the right partner, you'll figure it out together.'" Van Etten goes on, "I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I'm here. Doing it. This record is about pursuing your passions." The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors - Van Etten guest-starred in The OA, and brought her music onstage in David Lynch's revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann's movie Strange Weather and the closing title song for Tig Notaro's show Tig. She goes on, "The album title makes me giggle. It occurred to me one night when I, on auto-pilot, clicked 'remind me tomorrow' on the update window that pops up all the time on my computer. I hadn't updated in months! And it's the simplest of tasks!"

The songs on Remind Me Tomorrow have been transported from Van Etten's original demos through John Congleton's arrangement. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. "I was feeling overwhelmed. I couldn't let go of my recordings - I needed to step back and work with a producer." She continues, "I tracked two songs as a trial run with John ['Jupiter 4' and 'Memorial Day']. I gave him Suicide, Portishead, and Nick Cave's Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It's going to be challenging for people in a good way." The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten's sound.

For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or getting writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was "reverb universe" she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium.

The demo version of "Comeback Kid" was originally a piano ballad, but driven by Van Etten's assertion that she "didn't want it to be pretty", it evolved into a menacing anthem. Cavernous drones pull the freight for "Memorial Day," which fleshes out an introvert in warrior mode. The spangled "Seventeen" began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen, exploring gentrification and generational patience. Van Etten shows the chain reaction, of moving to a city bright-eyed and hearing the elders complain about the city changing, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis, who sang on a demo version when the song was in its infancy.

Since her last album, Van Etten has had a young son, and family life is joyful. Preparing and finishing these songs, she found herself expressing deep doubts about the world around him, and a complicated need to present a bright future for him. "There is a tear welling up in the back of my eye as I'm singing these love songs," she says, "I am trying to be positive. There is strength to them. It's - I wouldn't say it's a mask, but it's what the parents have to do to make their kid feel safe."

Alongside working on Remind Me Tomorrow, Van Etten has been exploring her talents (musical, emotional, otherwise) down other paths. She's continuing to act, to write scores and soundtrack contributions, and she's returning to school for psychology. The breadth of these passions, of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.

pssst, wrong thread :-)

Quote:

Originally Posted by _tunic_

pssst, wrong thread :-)

^^ He knows because he stole this thread idea from me and already made a fucking 2019 version to get the jump on me for the second straight year. :mad:

Quote:

Originally Posted by The Soup Nazi

St. Vincent Announces Stripped Down Version of Last Album, Shares Reworked "Savior"
MassEducation Due Out October 12 via Loma Vista

So...

This time it *is* called “MassEducation?”
Because remember the first time it was called “MASSEDUCTION” and consistently mistyped as “MASSEDUCATION.”

But... the stripped down, reworked version of “MASSEDUCTION” is indeed called “MassEducation?”

Quote:

Originally Posted by Severian

Just look at the goddamn cover, will ya? :cool:

ETA: And https://ilovestvincent.com/

Quote:

Originally Posted by The Soup Nazi

Just look at the goddamn cover, will ya? :cool:

ETA: And https://ilovestvincent.com/

Yeah, yeah I did look at the cover, that’s how I knew you weren’t just spacing out. Because the title of the album that is being reworked here is “Masseduction.” That Album was frequently — on this very board — mistakenly referred to as “Mass-Education.” And now a “stripped back” version of the album is being released and its official name is the erroneous name of the album being reworked.

Just sayin’

Like y’know lol

Quote:

Originally Posted by The Soup Nazi

Out November 30: Jeff Tweedy, WARM.

https://mailchi.mp/wilcoworld/new-je...bum-out-nov-30

Awesome

Quote:

Originally Posted by noisereductions

Awesome

Did you empty your PMs?
Where the hell you been?

Miss u dawg

New Kristin Hersh album 'Possible Dust Clouds'. Loving it after the first listen, a lot more aggressive and noisy than her last solo album. No one else makes music like this.

https://kristinhershfire.bandcamp.co...le-dust-clouds

Quote:

Originally Posted by Kuhb

Nice, thanks for posting this.

Mountain Movers - Pink Skies (Trouble in Mind)

I can't remember the last time I was so excited about a new album. This is a perfect follow-up to their excellent album last year. It'll certainly be too heavy and slow for some, and that is ok!

These guys would be huge in England right now. There would be fucking riots if they played the right places.

I could listen to these sounds for hours...

my pink vinyl copy sounds flawless, no crackles or static.

Quote:

Originally Posted by The Soup Nazi

Oh man, this is gonna be MEGATONIC.

https://www.allmusic.com/album/more-...--mw0003211756

Bought to Rot, a solo record by Laura Jane Grace of Against Me!, comes out on Friday and I'm hyped for it. The last two AM! records are two of my three favourites (Eternal Cowboy or GTFO), so hopefully the form keeps up.

Jessica Moss - Entaglement.

She played in my town yesterday. It was mesmerizing.

Quote:

Originally Posted by _slavo_

It was mesmerizing.

I wanna be mesmerizing too...

If you like raucous melodic punk with a touch of Unwound, the new Cloud Nothings is pretty fun. Not super ambitious, just well executed and thoroughly enjoyable

Cloud Nothings - The Echo of The World

https://youtu.be/7qn8q6B7lNQ

New Jessica Moss album is very nice. However for some reason I do prefer her very first album Under Plastic Island that was not released on album, but can be streamed on bandcamp.

anyway:

Fallen Trees by Lubomyr Melnyk

will be released on December 7

Quote:

On December 7th Erased Tapes present ‘Fallen Trees’ – the new album by singular talent and literal force of nature Lubomyr Melnyk – known as ‘the prophet of the piano’ due to his lifelong devotion to his instrument.

The album release coincides with Melnyk’s 70th birthday, but despite the autumnal hint in its title, there’s little suggestion of him slowing down. Having received critical acclaim and co-headlining the prestigious Royal Festival Hall as part of the ErasedTapes 10th anniversary celebrations, after many years his audience is now both global and growing. The composer is finally gaining a momentum in his career that matches the vibrant, highly active energy of his playing.

Cascades of notes, canyons and rivers of sound: there’s something about his music that channels the natural world at its most awe-inspiring. In ‘Fallen Trees’ the connection with the environment continues, taking its cue from a long rail journey Melnyk made through Europe. Glancing out of the window as the train passed through a dark forest, he was struck by the sight of trees that had recently been felled. “They were glorious,”he says. “Even though they’d been killed, they weren’t dead. There was something sorrowful there, but also hopeful.” That sense of sadness touched by optimism infuses the album, too: rarely has Melnyk made music so shot through with melancholy and regret, but which sounds so rapt, even radiant.

Drawing comparisons with Steve Reich and the post-rock group Godspeed You, Black Emperor!, Pitchfork praised his 2015 album ‘Rivers And Streams’ for it’s “sustained concentration andecstatic energy”. That energy is present in ‘Fallen Trees’ too, but at points the tone is quieter, the mood darker and more wistful. At points elsewhere on the album, despite being routed in the wonders of the natural world, there’s a kaleidoscopic quality in the fractal flurry of notes and the broad spectrum of colour they summon.

The work that gives it its name, the five-part, 20-minute ‘Fallen Trees’, is one of the most ambitious and demanding pieces he has ever created. Though the music is – as ever – Melnyk’s own, ‘Fallen Trees’ once again features a number of Erased Tapes artists. Japanese vocal artist Hatis Noit, whose first EP ‘Illogical Dance’ came out to much acclaim earlier this year, lends ethereal vocals, floating mysteriously above the surface of Melnyk’s eddying piano lines before diving far beneath. Other contributors include Berlin-based cellist Anne Müller, a sometime collaborator with Nils Frahm, and American singer David Allred, the most recent addition to the label family. “More than any of the albums that I’ve done, it’s a real collaboration,”Melnyk insists, emphasising how much he owes to his producer, Erased Tapes founder Robert Raths.

Born in the Ukraine in 1948, Melnyk fell for the piano at an early age. Given lessons as a young child after his family emigrated to Canada after the iron curtain came down, he was immediately transfixed by the possibilities of the instrument. “On the piano, you can create whole worlds,”he reflects. “I realised that it could be an orchestra, a choir of sound.”

After studying classical piano and graduating with a degree in Latin and Philosophy from St Paul’s College in Winnipeg, in the early1970s Melnyk found himself in Paris. Homeless and in desperate need of money, he supported himself by accompanying dance lessons for a company run by the experimental choreographer Carolyn Carlson. The experience became a kind of epiphany: watching Carlson’s dancers, he began to play a new kind of music, spontaneous and improvisatory – responding not to rigid classical conventions but the dance he saw unfolding. Using the sustain pedal to create echo and reverb, he transformed free-flowing cascades of notes into hypnotic waves of sound. Eventually he found a name for this new style: ‘continuous music’, which he uses to this day.

Critics have detected the influence of Ravi Shankar and other Indian styles in Melnyk’s music, along with the insistent, repetitive textures of minimalist pioneers such as Steve Reich and Philip Glass. Melnyk himself cites his debt to the American composer Terry Riley, particularly the legendary 1964 work ‘In C’, which he says “opened the world for me”.But he adds that if you listen carefully, you’ll also be able to hear the lilting contours of traditional Ukrainian folk music.

It might be truer to say that there is genuinely nothing quite like Melnyk’s work: a unique musical pioneer, he has defiantly carved his own path. “I don’t say to people I’m a composer,”he declares. “I don’t know what I am.

”Melnyk composes, as he plays, at the piano, feeling out lines and individual rhythmic cells that bubble, undulate and gradually expand into vast, interlinked frameworks. Asked to describe what it’s like to live inside his music, he says “my whole body is transformed as I play, it honestly feels like that. My fingers feel like the winds of the world; it feels like you’re physically transcending dimensions.”

Quote:

Originally Posted by The Soup Nazi

Out October 26: Heather Leigh, Throne.

https://editionsmego.bandcamp.com/album/throne

http://editionsmego.com/release/EMEGO-257

From Bandcamp Daily:

Heather Leigh Claims Her Pedal Steel "Throne"

From the archival department: Ut's reissues series continues with the badass Early Live Life.

"Remastered album compiling some of Ut's best live performances from 1979–1985". LP version in a limited edish of 400, while the CD couples Early Live Life and Live At The Venue. The FLACs from Bandcamp are 24-bit, by the way. Bitchen...

https://utmusic.bandcamp.com/album/early-live-life

FACS have a new "limited edition tour cassette", Acteurs Inversion, a "collage made from basic tracks recorded for FACS forthcoming 2019 album". (Well, the cassette itself is sold out, but you can get the high-resolution FLACs from Bandcamp. FACSFLACS, eh).

https://wearefacs.bandcamp.com/album/acteurs-inversion

I have to say I'm liking this stuff more than Negative Houses!

Quote:

Originally Posted by The Soup Nazi

FACS have a new "limited edition tour cassette",

I saw them live last week, it was quite good.

Quote:

Originally Posted by _slavo_

I saw them live last week, it was quite good.

They have a new bassist (well, it was news to me when I saw their pic on Bandcamp). Alianna Kalaba. Quite the looker. Drummer, too. NOICE.

Enjoying the new J Mascis a lot. He's coming to my town early next year, I'm looking forward to singing along to these tunes

Meg Baird/Mary Lattimore "Ghosts Forests" - Threelobed

https://www.youtube.com/watch?v=cVpg...McVpg 4CcBpu8

Quote:

Originally Posted by tesla69

Meg Baird/Mary Lattimore "Ghosts Forests" - Threelobed

https://www.youtube.com/watch?v=cVpg...McVpg 4CcBpu8

We know. Moshe and I posted about it back in September, asshole.

http://www.sonicyouth.com/gossip/sho...#p ost1362831

http://www.sonicyouth.com/gossip/sho...#p ost1362718

Very late onto this one... but the latest Mitski album is really, really impressive.

I've seen this album hyped a whole lot, but I have to say it lives up to it.

This song particularly got me https://www.youtube.com/watch?v=_lYA3i3QkWM

New Jeff Tweedy... “WARM.” Ohfuckyeah

Enjoying the new Perturbator b sides and remixes collections on Blood Music, even if they aren't exactly albums per se.

Quote:

Originally Posted by Severian

New Jeff Tweedy... “WARM.” Ohfuckyeah

We announced it. You replied. If you're posting because you're listening to it, go to the respective thread.

(^ Being a dick because I won't be listening to it until I receive it in the mail. That's how my lawn rolls...)

Quote:

Originally Posted by The Soup Nazi

I’m posting it because now I KNOW it’s one of the best new albums. Before, it was one of the “most anticipated” albums.

This thread — which was my brainchild originally before you and other snakes decided to try to steal it — is for discussion of both users’ favorite new albums and the albums users are looking forward to that might become their favorites once released.

Wrap your head around the fact that this thread serves two purposss. Things can be more than one thing.

Fatty.

(You call me Tiny so you’re Fatty... no you can’t be Biggie)