The Rate an Artist's Discography Thread

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  • Is there a good album to start with?
  • Depends on what you’re looking for. Pink, perhaps, or Akuma no Uta
  • lay down somewhere and listen to flood its p nice
  • Flood is for very patient listeners though
  • Unless you want to be a pleb and skip parts one and four
  • Consider this lord unplebbed
  • i consider myself a very patient listener. plus patient stuff is great for coding. so i’ll throw on flood soon and report back
  • Daughters:

    Canada Songs - 6/10
    Hell Songs - 8/10
    Daughters - 8.5/10
    You Won’t Get What You Want - 10/10
  • MONO:

    One Step More and You Die - 8.5/10
    Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined - 9/10
    You Are There - 10/10
    Hymn to the Immortal Wind - 8.5/10
    For My Parents - 6/10
    The Last Dawn - 6.5/10
    Rays of Darkness - 5/10
    Requiem for Hell - 5.5/10
    Nowhere Now Here - 7.5/10
  • TTKTTK
    edited May 2019
    gonna get back on this, RB's Boris one inspired me (yeah that's how long I've been working on this)

    since I did afx ae and squarepusher, may as well continue down the warp path;

    Boards of Canada

    now I'm gonna do official releases. No bootleg material, even though I've heard the widely available stuff.
    It would just be all 5's and 6's anyway, since while there is some stellar stuff in there, they're overall really spotty.
    I could also go into stuff like the loose tracks like Chinook/XYZ (which I kinda do further down), or their remixes, but if I start with that, it's a slippery slope and this post is already too long to begin with.
    Anyway, ready let's go.

    Twoism EP - 7/10 (Their debut EP, the one that started it all!
    It's a great intro statement, and their trademarks are already appearing in spades. The eerie yet warm atmospherics are here, although in a much more low key fashion. I also consider this to be their release which is most indebted to hip hop. I would say that all except Basefree carry a heavy head nodding rhythm which evokes classic late 80's/early 90's boom bap.
    My big reservation is that I personally don't think Twoism has melodies as strong as some of their other work does, instead they seem to reach for the 4 bar chord patterns to put over their beats. This is yet another trope of theirs ... but they have been more creative with it in later works, so its kinda flaccid approach here doesn't work exactly.
    It really depends on how rich the chords and tones are for me, and Oirectine and Twoism have rich tones which could stretch on forever, the latter of which manages to sound kinda jazzy with a warped electric piano appearing to add some nice colour.
    Best tracks: Oirectine, Twoism, Iced Cooly

    Hi Scores EP - 9/10 (If this didn't have Seeya Later, I'd probably take it up to a 10. Seeya Later is prolly my least fave track on the Twoism EP, and I have no idea why they wanted to rehash it here.
    The other 5 tracks all range from great to amazing. The title track does exactly what I said about creatively using the four chord structure. They introduce a repetitive motif, and for the "chorus" of the track, they bring in another 4 bar melody on top of the existing chords which completely revamps the original chord structure. This gives it depth which allows it to flourish in an interesting way. Like the track doesn't do much else than that, but it's a simplicity which works, and it also has a certain emotional resonance which is unique to BoC. That melancholia, the bitter sweetness. I talk about it often when referring to music I love and I think BoC may have started it.
    They essentially do the same trick on Nlogax, but it's with a nasty synth funk bass line and what sounds like 80's synth stabs popping in and out of the mix. As the track progresses, a sinister arpeggio appears and recontextualises what the bassline was doing.
    And I cannot go without talking about Everything You Do is a Balloon, probably my favourite BoC track. It has such a simple idea at its centre, but it's pulled off with such finesse that it's perfect. BoC introduce one melody, and then another melody in response to the first. They play off of each other beautifully, and in a way which is, as Pitchfork described (I think), romantic. It is genius.
    So yeah, this is a great EP I guess.
    Best tracks: Hi Scores, Nlogax, June 9th, Everything You Do is a Balloon

    Music Has the Right to Children - 10/10 (This takes all of the tropes which were introduced on their two already released EPs and fleshes them out into a fully inspired and recognisable sound.
    It's more atmospheric than either EP, and it feels more influenced by nostalgia from the 70's. It has more disembodied voices, and an underlying darkness that is kinda present on the EPs but reaches a new level on the album.
    On this record and the follow up, they mastered the idea of letting listeners fill in gaps. There may be a voice here, a certain ambient sound here and the listener doesn't exactly know what it's saying, why its there or what they're even listening to at times.
    A lot of longer tracks on here feel like journeys, which is something they haven't maintained all that much. You'll start in some place, and there'll be some detours, but you will often end up in a place different to where you started. For example the final section of Aquarius with the counting, or the scratching section on Eagle in Your Mind, or the freaky escalation of Sixtyten. The initial melody and rhythm doesn't change up that much but overtime it feels more claustrophobic with all of the left turns, ghostly voices and effects which are added, all building to this climax which is then just cut off right before breaking point.
    This is a brilliant show case of atmosphere and mood, with some great melodies to boot.
    Best tracks: Pete Standing Alone, Eagle In Your Mind, Sixtyten, Telephasic Workshop, Olson)

    Peel Session - 6/10 (Honestly, we've heard most of the tracks here before. They do have slightly different mixes, and in the case of Olson, it's almost like a completely different track.
    The only addition to the session is XYZ, which actually isn't included in the EP proper. I've got it on my computer, but as I said it's a bootleg, not an actual part of the EP. It's a cool track, which features BoC going into a territory similar to drum n bass.
    Outside of that, there isn't much here. Kinda cool that it gives an insight into how they'd arrange the tracks for live performances (the handful of times they did perform live))

    In a Beautiful Place Out in the Country EP - 7/10 (I don't think I'm as crash hot on this as many others are.
    It includes four track, two of which are certified bangers, and the other two are awesome but don't hit me like the other two do.
    The title track is, along with Roygbiv, the duo's closest thing to a pop song. Extremely simple song, with just the beat, the four chord synth loop, bassline following the chords and the intriguing melancholic vocodered vocal hook. Some more melodic embellishments here and there but that's pretty much it. Absolutely irresistible though, with these few elements coming together to form a catchy yet other wordly experience.
    Similarly Kid for Today doesn't have too much going on, but the rich keyboard textures and the atmospheres which feel like you're in a forest on a windy day add so much. The track quietly builds with more percussion being added as it progresses, with a stunningly beautiful climax.
    Now I like the other two tracks. I really do, but Kid for Today and the title track are definitely my favourite tracks here.)

    Geogaddi - 10/10 (This record is in my top 20 of all time. It is a religious experience. If I put it on in the right frame of mind it can seriously fuck me up, and make me scared to leave my room. Every track is vital to the flow of the record, even the 90 seconds of silence at the end. It takes what MHTRTC done with the duo's sound and twists it. It may not be too far instrumentally or stylistically, but the changes add to a huge difference sonically. The chords are more sour, just about every track has disembodied voices floating through out the mix, the overall thing feels more gritty, damaged and evil.
    The duo pushed their sound into the most experimental areas they've ever been to, with drone, noise, and sound collage playing a part in many of the tracks. I still can't truly describe The Devil is in the Details with words.
    It's an intense, scary, beautiful listen which is truly otherworldly journey. 100% recommended to those who have not listened to it. One condition, you have to listen at night, either with all the lights off, or alone in the outdoors. Your first experience has to truly horrify and electrify you, it's how the record reveals its charms.
    One of the best.
    Best tracks: Sunshine Recorder, 1969, Dawn Chorus, Beach at Redpoint, You Could Feel the Sky)

    The Campfire Headphase - 7/10 (This has gone up and down for me, I think it's now on the up rise for me. I initially was kinda meh on it because a majority of the guitar based tracks simply loop one idea (see Chromakey Dreamcoat or Hey Saturday Sun), but with this record the duo expanded their sound palette a lot. They burst the doors wide open and create this expansive kaleidoscopic view. I don't just mean the addition of guitars either, take tracks like those I mentioned, or Dayvan Cowboy, Oscar See Through Red Eye. These have multiple layers which you can dig into, multiple drum kits going on at once, all delivered with a clarity that BoC had not worked with before. Notably for me, Oscar is a standout in regards to this new clarity, in that there isn't much in regards to a progression, but for the entire run time there are so many counter melodies and additional chords which pop up here and there for just 4 bars then dip. It's a real trip which I don't think could have been done on a previous BoC record.
    It's their closest thing to a psychedelic record, and a summer record. It's also most definitely their most positive and romantic record. In saying that, I want to talk about 84 Pontiac Dream, which is the track that kept me coming back to this album. It has your standard four chord progression from BoC, with little melodic flourishes here and there, but good LORD after the initial intro section is over, the chord changes become so gorgeous and blissful, with a delicious keyboard melody played over the top. It is the sweetest and most beautiful thing the brothers have ever done and I hardly see anyone talk about it. It is genuinely one of their best tracks. Absolutely stunning.
    Anyway, yeah, great record.
    Best tracks: Chromakey Dreamcoast, Peacock Tail, 84 Pontiac Dream, Oscar See Through Red Eye, Tears from the Compound Eye)

    Trans-Canada Highway - 6/10 (A bunch of what feels like cast off tracks, with Dayvan, and a remix by Odd Nosdam. Dayvan is a classic, and Nosdam's remix is fine, but nothing special. Just makes it more of a drone track with a beat than anything else.
    What;s left are some great tracks which feel like they were rightly left off of Campfire. Left Side Drive is for sure kind of an underrated track, great chord progression at its core and a nice airy atmosphere. It also has a wonderful electric piano outro.
    Skyliner feels more sinister, and does that same trick that Oscar did, just sets up an initial idea then throws little ideas over the top for the entire run time. I'd say to a lesser effect though, even though I still like the track.
    And anyone who's listened to Heard from Telegraph Lines knows that it seriously could go on for like 10 minutes and it would not overstay its welcome at all. It's the kind of genius little interlude which BoC have always been masters of.)

    Tomorrow's Harvest - 6/10 (6 years on from their previous release, with a few remixes in the interim to show they're still alive.
    This comes out, and it got acclaim from fans, and from most of the music press ... buuuuut I was underwhelmed.
    Really underwhelmed.
    First off I love what the record is going for, this sunburnt dead earth feeling. It feels like the soundtrack to a post apocalypse film, kinda with that retro futurist feeling, and the tone of the synths and chord progressions feel darker and more hopeless than anything BoC have ever done before.
    The brothers are still amazing sound manipulators, and I'd say they're better than ever at crafting these huge detailed soundscapes. This is definitely a headphone album, and more little treasures are revealed in cans for sure.
    But the songs just are not here. There's not a lot of memorable melodies. There's a lot of melodic patterns and chords and arpeggios and what not ... but there's no beautiful awe inspiring melodies like Balloon, Pontiac Dream or Beautiful Place.
    It's cinematic, it's dense, yet it doesn't feel wholly immersive because there's nothing for me to grasp onto. The chord patterns don't have that mystical otherworldly quality that they did even in BoC's more chord driven material (parts of Geogaddi and Twoism). It just really hasn't hit me.
    Because of the lack of strong melodies I honestly still have trouble telling some of these tracks apart, and I've returned to this record numerous times trying to get into it (it's by BoC, what was once my favourite group, I SHOULD love it!) but alas I just can't get into it.
    best tracks; Jacquard Causeway, Cold Earth, Nothing is Real, Come to Dust, Semena Mertvykh)

    ~~~

    what do I want from BoC in the future? Honestly I don't know. I feel they tried to recapture some of the sinister vibes from Geogaddi on Tomorrow's Harvest, and you saw how well that went for me.
    I don't even know if I need a new BoC, the majority of the time I've spent listening to music as a hobby, BoC have been quiet.
    Honestly if they can come out with something that can come close to Geogaddi or MHTRTC, I'll gladly hear it. I'll even take something in the realm of Campfire, a totally different sound, but if they're not gonna make music that's compelling to me any more, I don't need it.
  • Gotta do another one of these, the Boris one was fun even if it was hella time-consuming. Maybe next time I won't pick a band with thirty fucking albums.
  • I might do a Swans one
  • Oh that's def gonna take you a while lol
  • billy woods:

    History Will Absolve Me - 9/10
    Dour Candy - 7.5/10
    Race Music - 9/10
    Today I Wrote Nothing - 7.5/10
    Known Unknowns - 9/10
    Rome - 7/10
    Paraffin - 8.5/10
    Hiding Places - 9/10
  • reminds me that I gotta listen to his earlier work
  • edited June 2019

    Baroness:

    First - 7/10

    Second - 8/10

    Red - 9/10

    Blue - 9/10

    Yellow & Green - 7.5/10

    Purple - 8/10

    Gold & Grey - 4.5/10

  • edited September 2019

    Opeth:

    Orchid - 7/10

    Morningrise - 8.5/10

    My Arms, Your Hears - 9/10

    Still Life - 10/10

    Blackwater Park - 9.5/10

    Damnation - 8/10

    Deliverance - 6.5/10

    Ghost Reveries - 9/10

    Watershed - 7/10

    Heritage - 3/10

    Pale Communion: 6/10 (was 5/10 on first listen, I've warmed up to this album in recent years, Faith in Others has some great parts)

    Sorceress: 4/10

    In Cauda Venenum: 8/10

  • The run from My Arms Your Hearse to Ghost Reveries is so strong.

  • Agreed for the most part, not a big fan of Deliverance. I haven't listen to it in a long time, I should probably revisit it.

    I think Morningrise is great. The only thing holding it back from a 9 (maybe a 9.5) is the production, and the drums are sometimes sloppy or poorly arranged imo.

  • edited September 2019

    Gonna do another @TTK style discography retrospective, and I picked this band mostly because for whatever reason I’ve been returning to and re-evaluating a lot of their albums this year.

    Metallica

    Kill 'Em All — 6/10 (Not a bad album, but super rudimentary. The songs here that are considered classics by fans, "Four Horsemen" and "Search and Destroy" in particular, are just super played out and stale for me at this point. Only moment that excites me at all is "Pulling Teeth", mostly due to Cliff. Not a bad debut I guess but I'll take the debuts from Slayer and Anthrax over this any day of the week.)

    Ride the Lightning — 8.5/10 (One of the first metal albums I ever got my hands on, and I still remember what it felt like to hear for the first time. "Fight Fire With Fire" still gives me that rush that I got the first time, as do many of the other tracks like "For Whom the Bell Tolls", "Trapped Under Ice" and "Creeping Death". I've honestly never been a huge fan of "Fade to Black" but as we'll get into later I'm generally not a fan of Metallica's ballads. Everything else here though, is flames.)

    Master of Puppets — 8.5/10 (Maybe underrating this, but I just don't like "Leper Messiah" that much. It feels like thrash metal dad rock to me for whatever reason, maybe it's the groove that doesn't do a lot for me. If that was off this would easily be a 9; the first side is sheer perfection, and "Battery" is another all-time favorite album opener. And "Disposable Heroes" is a good candidate for my favorite song these guys have ever done. And "Orion" is easily their best instrumental track. Its classic status is very well-deserved.)

    ...And Justice For All — 6.5/10 (Yeah the production on this makes it borderline unlistenable for me. Just the flattest, thinnest mainstream metal album I've ever heard. Listening to the guy who mixed this album talk about it in this video just makes me lament what could have been had idiots like Lars not been given so much creative control. The songs themselves, for the most part, are great (except "One", but again I dislike virtually all of their ballads so adjust accordingly). If Cliff were still alive I feel like we would've seen another terrific album, or at least if Lars, James and Kirk hadn't been such bitches to Jason we would've gotten a pretty good one. But of course this wouldn't be the last time the band has dabbled in godawful production.)

    Black Album — 6.5/10 (Well, at least the production is better here, even if it's arguably overproduced (which is Bob Rock's thing, I guess). But almost half of these songs I just can't stand--the ballads are the sappiest crap the band has ever written, and I never ever want to hear "Enter Sandman" again. But there are a couple real gems here--"The God That Failed" is by far the best track here and an easy contender for their best post-Puppets track ever. "Holier Than Thou", "Through the Never" and "Don't Tread on Me" are pretty good, and as overplayed as they are "Sad But True" and "Wherever I May Roam" still bang for the most part. But yeah, too much of this is just a big ol' meh for me nowadays.)

    Load/Reload — 5 I guess?/10 (I haven't listened to these albums since either middle school or early high school. I keep meaning to go back to them and re-evaluate 'em, but it's extremely hard to muster up the energy for a bunch of post-grunge mediocrity. "Fuel" goes kinda hard I guess. I dunno, I don't ride enough Harleys to like music like this I guess.)

    St. Anger — 2/10 (Pretty much as bad as the legend would have it, though I begrudgingly admit that I kinda like "Frantic". Everything else though is pure dogshit, with a lotta tracks like "Invisible Kid" being downright hilarious. There's an odd sort of nakedness to James Hetfield's vocals here, but that quality quickly devolves into hypermasculine whininess. The album just screams of misplaced ego, with James turning the brooding cringe factor up to 11 and Lars pushing his godawful drum timbres to the forefront of the mix for no good reason. Listening to this dude's snare tone becomes literally migraine-inducing. This is just the worst example of the dudebro faux-sensitivity that was all the rage in the 2000s post-grunge landscape. And did I mention this album goes on for 11 friggin hours?)

    Death Magnetic — 4/10 (Awful production again, except it's awful in a different way. St. Anger had awful drum timbres and mud poop guitar tones, but at least it had *some* dynamic range. Here, Rick Rubin just Rick Rubins all over this thing, pushing everything into the red for no good reason. As an example, "The Day That Never Comes" (a classic terrible Metallica ballad) legitimately sounds louder than most songs on Ride the Lightning. It's not like the songs are that good anyway—the only one I can ever see myself jamming to is "All Nightmare Long"—but Death Magnetic is pretty underrated in the conversation of terribly produced rock albums.)

    Lulu — 8/10 (Yep, you read that right. I'll get the demerits out of the way--the production, by Greg Fidelman (who also ruined Slayer's World Painted Blood and High on Fire's Snakes for the Divine), is not that great, and makes these songs sound unnecessarily rough and almost demo-quality this time. And there are moments of James' backing vocals not working at all—the "small down girrrrrl" bit on the first track is a prime example, and it makes it easy to see why a lotta people mocked this right out the gate. With that out of the way, this is Lou Reed's Blackstar, and it really deserves to be read in those terms. Lou's lyrics are as sick and twisted as he is known for, but also as melancholic and mournful as he is also known for. Tracks like "Cheat on Me" and especially "Junior Dad" have an undeniable emotional power that's impossible for me to shake. Lou's wails of calling himself "the greatest disappointment" on that latter track straight up made me cry the last time I heard it. And there are some real ragers on here too, with "Pumping Blood", "Mistress Dread", "Iced Honey" and other tracks having genuinely some of the strongest Metallica instrumentals in years. And Lou is just a barking madman on those tracks, which creates a volatile atmosphere that is unlike most other albums I can think of. Lulu is just a truly singular release, and it's a shame that even after 8 years most people still refuse to look beyond the surface of this thing. I seem to be looking at this more as a Lou Reed album than as a Metallica album, but one of the things I find so moving about this album is the deference and respect they give to Lou. For this famously egotistical band, Lulu is an astonishingly egoless album, and they do not get nearly enough appreciation for that.)

    Hardwired...To Self Destruct — didn't listen/10 (None of the singles were good and everything made it seem like this was just gonna be fan service to the meatheads that trashed Lulu, so nah don't care. Will probably listen eventually, but until then, ¯\_(ツ)_/¯.)

  • Great write up, especially on Lulu,

    fuck the haterz

  • I agree with pretty much everything except And Justice For All

  • Wait manatee does that mean you’re also on my side re: Lulu???

    (also you think AJFA’s production is good??????)

  • edited October 2019

    Re: AJFA: I don’t like the production all that much but the songs are so good.

  • That’s exactly what I said, I only have it rated relatively low because the production is so bad.

  • As for lulu, I couldn’t get into it, but David Bowie once said it was a misunderstood masterpiece and one of his favorite Lou Reed albums

  • yeah I think Laurie Anderson said Bowie thought it was Lou’s greatest work. You can absolutely see where he took cues from that album on Blackstar.

  • Yeezy:

    The College Dropout - 9/10

    Late Registration - 10/10

    Graduation - 8.5/10

    808s and Heartbreak - 7/10

    My Beautiful Dark Twisted Fantasy - 8.5/10

    Watch the Throne - 5/10

    Yeezus - 8.5/10

    The Life of Pablo - 7.5/10

    ye - 6.5/10

    Kids See Ghosts - 9/10

    Jesus Is King - 4/10

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