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Ghostface smoked a wooly blunt, touched the unseen face of the infinite, and started rapping in fractals somewhere during the late-‘90s creation of his sophomore album, dashing his penchant for dramatic, involved storytelling into sparkly rubble, only to find that the wordplay was still pretty in miniature. #MATT ELLIOTT DISCOGRAPHY TORRENT TV#Ghostface Killah, Supreme Clientele (Epic, 2000) “Ayo this rap is like ziti, facing me real TV / Crash at high speeds, strawberry kiwi.” Anyone who claims to know what that means is a liar it doesn’t matter what that line means. Like the ner tamid, the album’s light shines on nearly a quarter-century later. It worked because they never totally lost touch with their previous roots in gospel-tinged, Stones-y Delta rock, with singles like “Movin’ on Up” and “Come Together” splitting the difference between the rapture of the church and the club, simultaneously serving as the Saturday night rager and the Sunday morning repentance. ![]() The once-indie-pop Scots followed producer Andrew Weatherall - who set the band on their path to dance-floor Valhalla by turning blearly-eyed ballad “I’m Losing More Than I’ll Ever Have” into the every-way-ecstatic rave-generation anthem “Loaded” - all the way down the acid-house rabbit hole, convincingly turning into psychedelic glowstick enthusiasts who lived the life they loved and loved the life they lived. Primal Scream, Screamadelica (Sire, 1991) One of the least likely career reinventions in rock history, though perhaps not even the biggest about-face in Primal Scream’s peerlessly shapeshifting discography. #MATT ELLIOTT DISCOGRAPHY TORRENT CRACK#And in between history lessons, they crack wise, i.e., rhyming “feminine” with “Danish rings by Entenmann’s.” - JASON GUBBELS. Coltrane and Slick Rick receive tributes, ghettos decried as inner-city concentration camps, much love offered unto sisters - from Tanzanian beauties to Toni Morrison. ANDREW UNTERBERGER.īlack Star, Mos Def & Talib Kweli Are Black Star (Rawkus, 1998) One of the great rap one-offs and self-described “best alliance in hip-hop,” Brooklyn edition, Talib Kweli and Mos Def pooled their talents into a late-era Native Tongues project named for Marcus Garvey’s shipping line, which is of course perfect: black nationalism meets black entrepreneurship. ![]() The result is a singular album that finds the extreme in the middle, using its album title more as a rallying cry than a description. Unlike the Jesus and Mary Chain and most of the 25 years’ worth of distortion-pop bands that followed in their wake, there’s no separation in between the barbed wire and the kisses for No Age: They’ve been merged into the crackling riffs of “Fever Dreaming” and “Shred and Transcend,” the garbled grooves of “Skinned” and “Sorts,” until the original elements are totally indiscernible. No Age, Everything in Between (Sub Pop, 2010) The rare punk album more about texture and composition than adrenaline and messaging - or the rare noise-rock album more about rhythm and melody than hypnosis and abrasion - Everything In Between stuns with craft and inscrutability. And when the man himself has a phrase, like say, “Spirit Fingers,” it’s swiped from Bring It On. ![]() ![]() It’s also given the folktronica pioneer one of the most elegant catalogs in the history of the programmed beat. This has led to excellently hands-off, sparse production for notable collaborators as disparate as and. #MATT ELLIOTT DISCOGRAPHY TORRENT TORRENT#Matt Elliott Discography Torrent Average ratng: 4,5/5 9996votesįour Tet, Rounds (Domino, 2003) “Unspoken” is the theme song, not because of the rattlesnake tambourine fills but because the silent Kieran Hebden is content to play second fiddle to his own tinkly deconstructions. ![]()
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