I just created a community along the same lines as this one, so I'm posting here because people here are more likely to want to join. It's called found_music. It's basically the same Idea as this community, only with music.
i would have to say ride's 1990 ep Smile is a very not respected little mini album of unfocused and focused walls of guitar noise with excellent drumming and multi-harmonys of the english male voice
with 8 tracks totalling over 30 minutes of noise if you just let it go
they show you that they can truely freak it in under 3 minutes on song #1 chelsea girl, i couldn't even imagine what they could produce as a jam band.
Seefeel's "More Like Space" EP is an excellent record that no one ever talks about. It came out in 1993 on Too Pure, and prefigured a lot of the post-rock and trip-hop that came later. A really good atmospheric record to put on in the background while working during a rainstorm.
But beyond the stupid beat poetry lyrics, beyond the cheesey industrial connections, beyond the stupid name and mythology about pig's blood and records...
Cop Shoot Cop was a TREMENDOUS fucking band. Seriously. This one live recording I have is beyond good. More bands need to sound this heavy and rhythmic.
4:13PM - Low - owL Remix Low
shadesofautumn is turning over in her grave right now.
But fuck it. This piece of contract-padding piffle has some stunning remixes on it. The basic concept is nothing shocking -- an album of remixes of a band's work. Except that in this case, the band was Low and the album was pretty much made without their approval.
It's a recipe for disaster, and to many Low fans that what this record is -- an unmitigated failure, made all the more craven by the band's lack of involvement in the process. And it's true, it effectively ended any hope that Vernon Yard might have had of keeping Low on their label (moot point, since Vernon Yard effectively ceased to exist shortly after this CD came out).
Okay, politics aside: how do the mixes stack up?
Fairly well, actually. Some, like the 1991 Party Mixes of "Over the Ocean," are whimsical. These mixes find the band dressed up with sampled horns, goofy keyboard noises, and a moderately dancey beat. Far more successful is Jimmy Sommerville's remix of the classic "words" which adds a high-energy synth and drum track based on the original song's melody, slowing down only when he decides to let a line from the chorus ("And I can't hear them") close the song to fade. It's like Low meets gay disco, and it works amazingly well.
There are sveral misses: DJ Vadim's remix of "Laugh" or Neotropic's "Anon (spore)," are interesting if ultimately unsuccessful deconstructions. Or the two other Neotropic mixes (another of "Anon" and one of "Do You Know How to Waltz?"), which are so remixed to almost lose any relation to the original songs -- good, pretty, but ultimately unfulfilling.
But it's the Porter Nicks remix of "Down" that steals the show. Taking what was already a long, droning song on 1994's "I Could Live in Hope" and stretching it to nearly 14 minutes in length, this remix does what a good remix should do: it extends the song in new ways. "I guess your secret's out" is the vocal that's looped for most of the song's length, to hypnotic effect. The song retains its pacing and melancholy streak, but with a newly sinister and detached air.
owL Remix Low isn't the best remix record. But it certainly deserved better that it got. Give it a spin if you see it and you wanna hear when bad record company politics make for halfway-decent records.
2:42PM - Sugar - Beaster
Hey, I started this community.
It grew out of an obsession I have with one EP. Sugar's Beaster. Sandwiched between the pop-hooks of Copper Blue and File Under:Easy Listening, Beaster was a monstrous, blazing screed about Jesus, Christians and faith. It was a tremendous EP.
But it sank -- the Husker Du fans didn't want to get burned by more crappy Bob Mould alterna-product, and the Sugar fans didn't know what to make of it. Still, songs like "Tilted" hold up with the best of Mould's Husker Du work -- with the added bonus of benefitting from the more tuneful and accessible nature of this band. Yeah, there's a little too much keyboard, a problem with all of Sugar's work. But even with this imperfection, it's still great.
I see it in used bins far too often. I always urge friends to buy it when I do. And now, I'm telling you. Beaster is perhaps the best thing Bob Mould did in his post-Husker Du career. it's no Zen Arcade but it's still a fantastic, angry, and honest piece of work. Give it a whirl.