The Reverend Horton Heat – Just plain awesomeness. The White Stripes – I now have almost their whole discography, and loving every bit of it… except for the songs where Meg White sings alone… I wish she were a better singer Also, I suggest that everybody ever should watch “David Byrne interviews David Byrne”.
I recently checked out Speaking In Tongues, a great album with a lot of the songs that were in Stop Making Sense. Talking Heads – I watched their concert film, Stop Making Sense, and then it really clicked with me how awesome they are. It’s basically Odelay part 2 in terms of quality. Pink Floyd -specifically, Wish You Were Hereīeck – I bought Guero. Nirvana -still… I got MTV Unplugged In New York and the With The Lights Out box set, so now my Nirvana collection is pretty damn extensive
Some other bands I’ve been obsessing over: SVN FNGRS is a cool indie-ish album but it’s still got some Pixies charm to it. I’ve been listening to Black Francis/Frank Black, from The Pixies. The Delgados (quality alt rock group, cd Hate is especially good) Tarwater (lo-fi sounds, lots of loops, electronic influence, monotone vocalist, atmospheric and moody) Plaid (idm group, lots of music, neat style) Deerhoof (the milks gone bad but they drink it anyway, experimental rock w/ an hot sounding asian chick singing engrish) Bright Eyes (not as into Oberst since my teens lol) Arovane (atmospheric ambient and percussion) American Analog Set (mellow rock, good for naps) Nobuo Uematsu, Yasunori Mitsuda, Motoi Sakuraba (prog style rocks) Joy Electric (analog synths all the way) The band does prove itself able to concoct a variety of rhythms and arrangements within the ska-punk format, the accelerations and decelerations adding some drama, the horns adding some spy movie-like creepiness at times, and the frequent use of minor keys distinguishing Streetlight Manifesto melodically from some of the group's competition.Been checking out more King Crimson lately, really enjoying Three of a Perfect Pair and some of Elektrik as well. And though they're helpfully printed in the sleeve, he's prone to jamming many words into very little time, so that some of them have to be reproduced in such small print that they're difficult to read. In truth, the actual lyrics Kalnoky's singing are, for the above reasons, often no easier to decipher than those heard on many hardcore punk records, though they're much less grating on the ear. The lyrics, too, aren't too far afield from hardcore, with their breathless narrative thrust and pumped-up vibes of prickly despair, uncertainty, assertion of individual identity against the odds, and fleeting images of violence. (Kalnoky also wrote all of the material and produced the record.) It's much like hearing a hardcore punk singer supported by much cheerier melodies and varied rhythms than most hardcore punk bands could muster. Streetlight Manifesto's competent, lively ska-punk debut sets jittery, usually very rapid tunes to singer/guitarist Tomas Kalnoky's ultra-fast vocals.
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