I like it. You've got a cool sort of dreampop/shoegaze-esque thing going on here. I'm not too fond of the distortion at the very end which just sounds like straight clipping, but that's just me.

I saw Death Grips a few months ago and it was pretty crazy. As soon as they started (I think with "Come Up and Get Me") the entire crowd surged forward and starting just pushing and pulsing with energy, not letting up until the concert ended. I had the good fortune (and dexterity) to be in the front for a few of my favorite tracks as well. Zach Hill's live drumming is really something else to behold.

Yeah, it's pretty difficult. There are a few compilation albums that make it a bit easier to have a good picture of them over the times. I recommend Tear the Roof Off 1974-1980.

Despite what Piero Scaruffi says, I still believe The Beatles to be the eminent musicians of their age. There is actually a good amount of interesting theory going on behind the music that isn't apparent to a casual listener. They had the songwriting and the technical ability, but didn't rely on those, complimenting them with good pop sensibility, making the majority of their music incredibly accessible.

I can never stay away for long. I've been rerere(x many)revisiting P-Funk. Flashlight, Endangered Species, Give Up the Funk

I've always thought that the difference between "outsider" and "insider" music has gotten progressively smaller over time. A large component of the original punk movement dealt with the democratization of music, and more recently with lackadaisical rap gaining some degree of popularity as well as production software (particularly auto-tune) becoming both easy to come by and relatively easy to use, it is now very easy to make music that is acceptable, which can become exceptional if accompanied with a powerful message or emotion.

Of course "outsider" can also just refer to music that comes from a different tradition or doesn't have a direct link from prior works--something that just sounds different. Speaking of Zappa, he also worked with Captain Beefheart, who was a rather interesting musician.

Ah. I actually used to listen to a bunch of Venetian Snares. He has some pretty cool percussion throughout his career. I can't really understand not seeing tracks like this as music though; it's percussive in a pretty standard sense, and even melodic. I shudder at what the people you're arguing with would think of harsh noise or industrial.

Deacon and Deakin are different. Wow that's confusing. Thanks for the heads up.

Upload weeks worth of music and stream it at 320kbps without incurring massive fees.

It's been on my list for a while. I'll get around to it soon. I'll probably skip a few gigs I've got waiting and listen to it the next night that has the right sort of vibe. I can only listen to Giles Corey at night when I'm feeling tired but not sleepy and a little crazy.

arrowheads arrowheads arrowheads

Deathconsciousness is their only full length album out. There's another that's allegedly in production, but I'm not believing it till I see it.

Dan Barrett also has some good stuff released as Giles Corey, but nothing quite as good as Deathconsciousness, if you ask me at least.

Lately I've really been harking on Deathconsciousness by Have a Nice Life. It's probably the most emotionally powerful album I've ever heard. And it sounds so distinct. Sort of like shoegaze, but not really. Sort of like drone metal but not really. The drums being just slightly off beat at just the right moments, the subtle use of electronics, the brilliant structure. It's really a brilliant work of art.

I've been listening to some classic Swans. Pure aggression. Pure anger. Two bassists.

And I'm slightly late to the party on the leak of the new Shlohmo EP Laid Out, but what a party. When someone told me it's better than Vacation I had a hard time believing that, but it just might be true. The tracks are so well layered and the sounds he chooses give this EP a really incredible feel.

And a little later to the party of the new Buke & Gase album General Dome, which has some really great tones and vocals. It sort of reminds me of classic Sparks, but it's done with their eponymous custom instruments rather than synths. They've got some very catchy riffs and basslines going on here and the percussion is impressive as well.

I've also been listening to Have a Nice Life's Deathconsciousness and also Giles Corey's self titled (they also have a new release which I've been meaning to get around to), but I must say they really have to be listened to as full albums. The former is very drone metal influenced, combined with post rock, shoegaze, a little electronic and a host of other influences. It's sort of like the heavier darker cousin to The Antlers' Hospice. Very dark, depressing and emotionally powerful. Giles Corey is similar, but less layered on around half the tracks with more folk influence and a more clear story, as well as considerably better mastering (tho I'm of the mind that Deathconsciousness is the better album regardless).

Yeah, Sinfest went from being quick character-based jokes with occasional 5-10 strip long mini stories to the kind of newspaper comic political "humor" that might as well just put labels on the characters saying what social groups they represent.

Yup. I am terrified of living an uneventful, melancholy, standard life, making no real connections or lasting impact and being forgotten soon after I die alone and full of regrets over what could have been.

One for the money, two for the better green 3-4-methylenedioxymethamphetamine

-MF DOOM All Outta Ale

They are kinda kooky.

I've really been enjoying the new Pissed Jeans album Honeys. It's messy, loose punk with some catchy hooks and interesting lyrics. My favorite songs on the album are Loubs and Cafeteria Food.

I'm on the verge of totally immersing myself in punk now that I'm finishing up with my experimental electronic binge. It's a genre I couldn't quite get into except for a few artists before, but now it's starting to click with me.

I consider myself a fan of both, and this is great. Even though I got most of them right, the juxtaposition is good. The deluge of references and muddy rhyme schemes are surprisingly similar.

Well you already posted one of my favorites. Some other greats are http://www.smbc-comics.com/ http://nedroid.com/ and http://www.qwantz.com/index.php

I used to really enjoy Sinfest and XKCD, but they have both been inconsistent as of late. I also used to read http://questionablecontent.net/ but I only have so much soap-opera enjoyment ability in me, even if the characters listen to indie bands and make quips. Still great if you're into that, but you really need to read from the very early ones to understand what's going on and the quality didn't start at the same level.

I'm imagining Bootsy playing like he did on the Praxis album Sacrifist. Heavy, but funky.

Guitar: Tom Morello Bass: Bootsy Collins Drums: Zach Hill Vox: Jello Biafra

or for a different angle entirely Guitar:Eric Clapton Bass: Victor Wooten Drums: Questlove Vox: Peter Silberman

With the recent events in LA, I've been remembering the context. Body Count - Cop Killer, NWA - Fuck The Police, The Dead Kennedys - California Uber Alles (disregard the video), and most importantly, Lil B - Police and... (VERY #RARE AND #BASED VIDEO).

Other than that, I've been working through the awesome comments on my post about weird music here.

I really like the vocal style in the first link, but the quality is super low. Is there an album of hers with that style you would recommend?

Is that doom metal? I'm sort of confused on what makes some of the modern subgenre distinctions, and always associated doom metal with guys like Electric Wizard. Cool nonetheless. The sound itself sort of gives me an early NIN type of vibe.