GY!BE - F♯A♯∞ [1995–1997]

This is the original version of the album. Two tracks, ripped from vinyl. Just give it a listen. If I had to stress one word while listening to this album, it'd be "patience". And man, if you do any psychedelic/dissociative drugs, this is a GREAT album to trip to (well, at least SWIM says so).

"the car's on fire and there's no driver at the wheel
and the sewers are all muddied with a thousand lonely suicides
and a dark wind blows
the government is corrupt
and we're on so many drugs
with the radio on and the curtains drawn

we're trapped in the belly of this horrible machine
and the machine is bleeding to death

the sun has fallen down
and the billboards are all leering
and the flags are all dead at the top of their poles

it went like this: ...
the buildings tumbled in on themselves
mothers clutching babies picked through the rubble
and pulled out their hair

the skyline was beautiful on fire
all twisted metal stretching upwards
everything washed in a thin orange haze

i said: "kiss me, you're beautiful -
these are truly the last days"

you grabbed my hand and we fell into it
like a daydream or a fever

we woke up one morning and fell a little further down -
for sure it's the valley of death

i open up my wallet
and it's full of blood"

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B l o n d e R e d h e a d - M e l o d y o f C e r t a i n D a m a g e d L e m o n s (2000)

From allmusic (4/5):

"For a record produced by Guy Picciotto (Fugazi, Rites of Spring), Melody of Certain Damaged Lemons is a surprisingly quiet affair. Rarely do the cuts on Blonde Redhead's 2000 release get much louder than an electric guitar. With their fifth record, Blonde Redhead finally emerges from the shadows of Sonic Youth's post-punk legacy by avoiding the expected detunings, distortions, and shrillness of the genre. The three-piece manages to create a record that is subtle, tuneful, and sublime. On "Loved Despite of Great Faults," instrumentation mainly consists of acoustic guitar, piano, and percussion rather than an assault of power chords, yet the mood of the song is just as effective. While the record may be quieter, it still manages to move in several different directions. "This Is Not" tips its hat to Ric Ocasek with a new wave-inspired piece while the opening cut, "Equally Damaged," and "Ballad of Lemons" suggest an influence from Danny Elfman. Melody of Certain Damaged Lemons may not accurately reflect the full body of Blonde Redhead's work, yet it presents an easy place to start."

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David Bowie Megapost (1976-1979)

God, what artist/band can ever compare to Bowie's creative output in the 70s?

Station to Station (1976)

From allmusic (4.5/5):

"Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. Everything from epic ballads and disco to synthesized avant pop is present on Station to Station, but what ties it together is Bowie's cocaine-induced paranoia and detached musical persona. At its heart, Station to Station is an avant-garde art-rock album, most explicitly on "TVC 15" and the epic sprawl of the title track, but also on the cool crooning of "Wild Is the Wind" and "Word on a Wing," as well as the disco stylings of "Golden Years." It's not an easy album to warm to, but its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk."

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Low (1977)

From allmusic (5/5):

"Following through with the avant-garde inclinations of Station to Station, yet explicitly breaking with David Bowie's past, Low is a dense, challenging album that confirmed his place at rock's cutting edge. Driven by dissonant synthesizers and electronics, Low is divided between brief, angular songs and atmospheric instrumentals. Throughout the record's first half, the guitars are jagged and the synthesizers drone with a menacing robotic pulse, while Bowie's vocals are unnaturally layered and overdubbed. During the instrumental half, the electronics turn cool, which is a relief after the intensity of the preceding avant pop. Half the credit for Low's success goes to Brian Eno, who explored similar ambient territory on his own releases. Eno functioned as a conduit for Bowie's ideas, and in turn Bowie made the experimentalism of not only Eno but of the German synth group Kraftwerk and the post-punk group Wire respectable, if not quite mainstream. Though a handful of the vocal pieces on Low are accessible — "Sound and Vision" has a shimmering guitar hook, and "Be My Wife" subverts soul structure in a surprisingly catchy fashion — the record is defiantly experimental and dense with detail, providing a new direction for the avant-garde in rock & roll."

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"Heroes" (1977)

From allmusic (5/5):

"Repeating the formula of Low's half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound. Much of the harder-edged sound of Heroes is due to Robert Fripp's guitar, which provides a muscular foundation for the electronics, especially on the relatively conventional rock songs. Similarly, the instrumentals on Heroes are more detailed, this time showing a more explicit debt to German synth pop and European experimental rock. Essentially, the difference between Low and Heroes lies in the details, but the record is equally challenging and groundbreaking."

Get it here.

Lodger (1979)

From allmusic (4.5/5):

"On the surface, Lodger is the most accessible of the three Berlin-era records David Bowie made with Brian Eno, simply because there are no instrumentals and there are a handful of concise pop songs. Nevertheless, Lodger is still gnarled and twisted avant pop; what makes it different is how it incorporates such experimental tendencies into genuine songs, something that Low and Heroes purposely avoided. "D.J.," "Look Back in Anger," and "Boys Keep Swinging" have strong melodic hooks that are subverted and strengthened by the layered, dissonant productions, while the remainder of the record is divided between similarly effective avant pop and ambient instrumentals. Lodger has an edgier, more minimalistic bent than its two predecessors, which makes it more accessible for rock fans, as well as giving it a more immediate, emotional impact. It might not stretch the boundaries of rock like Low and Heroes, but it arguably utilizes those ideas in a more effective fashion."

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Deltron 3030 (2000)

Dolemic's review on RYM (5/5):

"Deltron 3030 is a concept album about an Orwellian future where a giant conglomerate has taken over the world and homogenized our lives, jobs, music, etc. Two heroes have stepped forward to battle our oppressors: Deltron Zero and the Automator. On another level, Deltron 3030 is a concept album about right now where a corporate structure has taken over the music industry and homogenized our hip-hop. Two artists have stepped forward to battle trite, radio-ready rap music: MC Del the Funkee Homosapien and producer Dan the Automator (with DJ Kid Koala along for the ride).

The former concept doesn't really hold water to close scrutiny, as Del's lyrics are designed more to dazzle with acrobatic wordplay and a barrage of pop culture references than to spin a cohesive yarn. Of course, that doesn't mean that it isn't a load of fun. In dizzying fashion, Del spits verses about "Ghost in the Shell", Silver Surfer, the Decepticons, "The Matrix", Neo-Tokyo, Micro Machines, Final Fantasy and Optimus Prime. And that's in the first two songs. To claim that Deltron 3030 is somewhat "nerdy" would not be unfair. Again, that doesn't mean that it isn't a load of fun.

As far as the latter concept, it is sadly very true, both now and when the album was released. In similar fashion to his efforts on Dr. Octagonecologyst, Dan is purely brilliant in his crafting of sonic landscapes for his counterpart to play in. Unlike the aforementioned album, however, he now has a partner who is equally talented in his respective craft. Del delivers his gonzo rhymes with precision and intensity. Together they create a magnificent sci-fi epic with a great sense of humor. Del's crazy lyrics would sound out of place over a Timbaland or Kanye West beat, for example, in much the same way that a generic rhyme about hustling or fashion would never make sense over the cinematic production of the Dan the Automator. Throw in the superb and tasteful scratching of Kid Koala and you understand why this album has become the cult classic it has.

Although Deltron 3030 is meant to be taken as a whole, with skits interspersed between each song, certain tracks do stand out. "3030" is sweeping and grandiose, like a John Williams score. "Turbulence" boasts the darkest, scariest hip-hop production since Dr. Octo. Nowhere do the talents of the three chief collaborators culminate in such a beautiful fashion as on the tremendous "Madness". The best song on the album is also one of the best in hip-hop history.

Deltron 3030 is a fearless, uncompromising and sprawling masterpiece. It doesn't surprise me that it hasn't garnered a lot of attention in the casual hip-hop community. None of these artists have ever made any attempt to market themselves to a mainstream audience. That's not a compliment or a fault, just a fact. Regardless, any fan of any type of music should find this album enthralling and worthy of their time. There really isn't anything else out there that sounds like this. Of course, it doesn't hurt to be a little nerdy yourself."

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BONUS

Trust me on this one: get this. The beats are amazing. Like, you know the beats are gold when you can listen to them alone and you enjoy it as much (if not more) than the parent album. I give this a 6/5. See if you can freestyle over the beat to "3030".

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DJ Shadow - Preemptive Strike (1998)

From allmusic (4/5):

"DJ Shadow assembled the singles collection Preemptive Strike as a way for American audiences to catch up on his career prior to his debut album, Endtroducing. The 11-track album contains three new interludes and three complete singles that he released on Mo'Wax -- "In/Flux," "What Does Your Soul Look Like," and "High Noon" -- and a bonus disc, "Camel Bobsled Race," which is a megamix of DJ Shadow material by DJ Q-Bert. Given that Endtroducing was a masterpiece of subtly shifting texture, Preemptive Strike almost seems purposely incoherent, even though the tracks are sequenced chronologically. The jerky flow can make the album a little difficult to assimilate on first listen, but it soon begins to make sense, even if it never achieves the graceful flow of the album. Several of the selections on Preemptive Strike were available in different forms on Endtroducing -- parts four and one of "What Does Your Soul Look Like" are in their original forms here, presented along with one and three, and there's the "extended overhaul" of "Organ Donor." All of these are significantly different than the LP versions, and "What Does Your Soul Look Like" is necessary in its original, half-hour, four-part incarnation. But the key moments are the seminal "In/Flux," which arguably created trip-hop, and "High Noon," the dynamic, fuzz-drenched single that was his first single release since Endtroducing. Those three A-sides are reason enough for any serious fan of the debut to pick up Preemptive Strike, but the B-sides and "Camel Bobsled Race" are equally intriguing, making the package a nice summation of DJ Shadow's most important singles through the end of 1997."

Get it here.

Also:
DJ Shadow & Cut Chemist - Brainfreeze (1999)

R a i n T r e e C r o w - R a i n T r e e C r o w (1991)

RHalpain's review on RYM (5/5):

"Rain Tree Crow's lone album is a bit of an oddity. This album came a decade after their final album as Japan (the fantastic Tin Drum) and really sounds absolutely nothing like any of their previous work. From my understanding, David Sylvian dominated the recording of the album (including the name change), and stylistically that shows. Not only that, but the band seemed ready to break up once more (which happened shortly after the album's release, I believe).

Given that, it perplexes me how this album is so damn good. I honestly don't know what the ex-Japan bandmates were trying to do with this album. Even after having listened to this quite a few times over the last 2 years, I'm not really sure what the aim of this album was. I'll be damned, however, if it isn't amazing.

The music on Rain Tree Crow generally lingers in a realm of bizarre cinematic tranquility. Songs like "Scratchings on the Bible Belt" are instrument drenched (woodwind instruments as well as banjos and strange flares of guitar penetrate a predominantly organ and percussion driven track) visions of the reality in which Rain Tree Crow seems to operate, while "Blackwater" is simply the most beautifully concise track ever written by this group.

What baffles me about this album is how peaceful it sounds. While the later Japan albums seemed about achieving a certain sound (assuming Tin Drum was the culmination of their experiments), Rain Tree Crow sounds absolutely natural. It's as if they were passing a stream some day and played exactly what they heard; there's a certain rhythm throughout the album that seems to gently and patiently carry the listener along.

Overall, I would put this, along with Tin Drum as Japan's best albums. As a Sylvian fan, I would rank this only behind his Secrets of the Beehive (probably the album that sounds most like what's on Rain Tree Crow, not to mention my favorite album ever) and Snow Borne Sorrow by Nine Horses (which features Sylvian's brother, and former Japan bandmate, drummer Steve Jansen). If you like Talk Talk, I would highly recommend this."

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Shiina Ringo - Karuki Zame Kuri no Hana (2003)

Zorbo's review on Rate Your Music (5/5):

"I think Ms. Shiina must be a Taoist. Or, if not, at least someone deeply interested in the concepts of opposites, doubles, balance and equality. Everything about this album screams a predilection with it. The title, translating to “Lime, Semen, Chestnut Blossoms”, seems bizarre, but it is a well-crafted one and, by her reckoning, a logical one. She claims that the first and last items both smell like semen and thus the title is a olfactory palindrome. Of sorts. Next, there are the titles themselves. When viewed down the page, the titles of the first and last, second and second-to-last songs, and so on, all have the same number of characters. Even the second song is called Doppelgänger, a German word meaning a person's double.

It is appropriate then that such an album, at first glance overwhelmed with doubling and copying, be so original. It is doubly appropriate that the album's sound be made of opposites. On the one hand, it's the tightest pop album I've ever heard. Not a note or melody is poorly placed. At the same time, it's all over the place. The range of instruments and styles featured on the record is astounding. Why, Ringo herself plays guitar, piano, drums, koto, shamisen, harmonica, harpsichord, and accordion, and let's not get into what her band plays. Lyrically? Well, I don't know, I don't speak Japanese. I have been informed that it uses obscure, obsolete kanji in the lyric sheet that accompanies the CD, which is of course to be expected from such a modern and forward thinking album from someone so obsessed with opposites.

This album, on paper, should not work so well. It shouldn't be so tight and perfectly crafted, but it couldn't be moreso. It sounds like a mash-up of swing, jazz, noise, a capella, rock, pop, folk and even classical, but it doesn't sound cluttered or jumbled in any way – it's wonderfully catchy and addictive, great to sing along to, relax to, or get excited about. It's brash, noisy, funky, experimental, complex, and in-your-face. It's also low-key, calm, accessible, simple and humble. Crafted by a fragile, young soul, and forged by a demonic sexual beast.

I could go on, but frankly, why bother? My point has been made and I'm just hammering it further. This album, at its heart, makes no sense. It's untouchable and innately indescribable. It defies logic, it defies theory, it defies one's prejudices or pre-conceived ideas. It defies belief that you haven't gone looking for it already."

Get it here.

Also:
Shiina Ringo - Shouso Strip (2000)
Tokyo Jihen - Adult (2006)

Cannibal Ox - The Cold Vein (2001)

From allmusic (4.5/5):

"While it can be said that many underground crews have been floundering in the gray matter of indie hip-hop, Cannibal Ox filled that area in with 2001's The Cold Vein for El P's Def Jux imprint. The music press had been quick to point out that Vast Aire and Vordul Megilah's attack is at times highly derivative of the Wu Tang Clan, and the point is valid. Thankfully, El P (a serious candidate for producer of the year) lays out some of the most lushly intriguing sounds and beats that feel as herky-jerky as they sound gilded with silk. It's a bit misleading to harp on the Wu factor that The Cold Vein contains since this record's content is immensely original and the Wu references that seem present are in the enlightened gloomy flow and psychedelic backdrops -- not, (with all due respect) in the kitschy hooks and unfocused rhymes that Wu Tang are also known for. Aire and Megilah swirl around in b-boy posturing and obtuse nonsense as their innovation rears its head at every corner with scatter-shot lines like: "And I ain't dealin' with no minimum wage/I'd rather construct rhymes on a minimum page," and "You were a still-born baby, your mother didn't want you but you were still-born." While there's not a throwaway track per se, the album's length does run a bit long (at least they didn't make it into a double CD as a lot of rap acts have been known to do). To their immense credit, Cannibal Ox and El P have assembled one of the most listenable hip-hop albums in far too long. Headz be aware: Independent hip-hop has a new voice and this is your beat fix for 2001."

The second I heard "Raspberry Fields" I was sold:

"If first you don't succeed try, try again
Step up to the mic and die again
This is the next lifetime and you wanna battle
Either you like reincarnation or the smell of carnations
The sample's the flesh and the beat's the skeleton
You got beef but there's worms in your Wellington
I'll put a hole in your skull and extract your gelatin"

How can you not like that shit? Get it here. NOW.

Scott Walker - Scott 2 (1968)

From allmusic (4.5/5):

"Although Walker's second album was his biggest commercial success, actually reaching number one in Britain, it was not his greatest artistic triumph. His taste remains eclectic, encompassing Bacharach/David, Tim Hardin, and of course his main man Jacques Brel (who is covered three times on this album). And his own songwriting efforts hold their own in this esteemed company. "The Girls From the Streets" and "Plastic Palace People" show an uncommonly ambitious lyricist cloaked behind the over-the-top, schmaltzy orchestral arrangements, one more interested in examining the seamy underside of glamour and romance than celebrating its glitter. The Brel tune "Next" must have lifted a few teenage mums' eyebrows with its not-so-hidden hints of homosexuality and abuse. Another Brel tune, "The Girl and the Dogs," is less controversial, but hardly less nasty in its jaded view of romance. Some of the material is not nearly as memorable, however, and the over-the-top show ballad production can get overbearing. The album included his first Top 20 U.K. hit, "Jackie.""

Get it here.

Shiina Ringo - Shouso Strip (2000)

Since I posted Tokyo Jihen's Adult earlier, it only made sense to upload one of Ringo's solo albums. Once again allmusic fails me, so here are some reviews from Rate Your Music:

"A great pop/rock album, that's exciting, exuberant and very, very catchy. The powerful, emotionally-charged vocals are a treat, and the little experimental tweaks in the instrumentation keep things vibrant and interesting. The chorus of "ギブス" (aka "Gips") is so uplifting it should lift the roof off your house. Highly recommended." - tommo (4.5/5)

"First of all in order to describe this to you, I must digress that on my initial experience with Ringo I couldn't put my finger on which side of the pretentious, over produced pop, mish mash/genius obscure rock album line this thing fell on. So of course I listened to it non-stop for days, researched everything I could find out about her and this album and now I can safely say that this falls on the latter side of that line.

It's a crazy, shape shifting experience, full of great, sly, mysterious guitar lines very reminiscent of Jonny Greenwood [partially due to the fact that I believe the guitar player (her boyfriend at the time) uses a Roland Space Echo or a similiar effect]. One other impressive thing about Shoso Strip is that although it's a solo album, the focus is on the music and atmosphere as a whole and not solely on Ringo.My theory about the album is that she had gone to the U.K. during the release of O.K. Computer, which had to have an influence on her music, she returned to Japan, and came out with this gem. While a slight few of the pop laden tracks get a bit average the rest of the album makes up for them. And although Ringo's voice can be a little annoying when she does her Alanis Morisette impression, she can really emote, create some memorable melodies, and shift along to the intricate changes with ease. Sometimes she does sing in a style similiar to Fiona Apple as well. On top of all that, this album is so skillfully produced that it just flows so effortlessly through all the chaotic and beautiful changes, it almost requires multiple listens.I do have a gripe with some of the guitars on here which can be really genius, but on a few tracks they seem overly simple, with your basic four chord, perfect fifth rifffage...but I'm being a bit hypercritical. Ultimately this is pretty amazing and seriously near perfect, which means a lot coming from me because I really had little affinity for female vocalists until I heard this." - TheWestWind (4.5/5)

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Gang Gang Dance - Saint Dymphna (2008)

From allmusic (4/5):

"Brooklyn's Gang Gang Dance is an excellent example of the vibrancy found in the loosely knit underground musical community in New York. Traditionally, the trio has relied heavily on electronics and sampling but has used them to very free-form ends. Influences from Brian Eno to Tetsuo Inoue, and Eastern-tinged world music could be heard in their sprawling textures and ambience-laden warp grooves. With Saint Dymphna (titled for the patron saint of outsiders), GGD has a made another left turn but this time by turning right, away form the hippie/patchouli saturated post-psychedelic tribal music and toward the more structured forms of electronic beat music like dubstep and grime. Gone are the long, sprawling ragged jams of their previous albums; they are replaced with 11 "songs," none of them more than five-and-a-half minutes. The beauty in this is immediately apparent: the listener encounters the influence of latter day digital dubbers like Mad Scientist andDub Syndicate in the sprawling sonics on the album opener "Bebey," but that quickly morphs itself into a more rugged, robotic formalism with traces of Kraftwerk, Deutsche Amerikanische Freundschaft, and even Der Plan. This opens the fader gates for the floppy electro-funk of "First Communion," the first track to feature Liz Bougatsos' vocals. Sharded streams of electric guitar wrap themselves around her voice, also adorned by a deep rumbling bass that's fuzzed to the max, and then the winding, melodic, pulsing, electronic synths and a drum kit. It's the beginning of an exotic journey into sound that gets to the aforementioned dancefloor styles in earnest, such as the slower, four to the floor loops on "Blue Nile," and the truly exotic mélange of samples, sprawling void atmospherics. and stretched beats on "Vacuum." MC Tinchy Stryder is a featured vocalist on "Princes," where grime and dubstep come together in a rhythm collision of startling proportions. There is room for the truly abstract here as well, such as on the ambient soundtrack-like "Inners Pace," and the more elastic rhythmic construction on "Afoot." But by the time the listener gets to "House Jam" -- which is nothing less than an utterly psychedelic blend of acid house and trance with a "straight" sung vocal by Bougatsos -- she'll wonder if she's really hearing GGD at all. "Desert Storm" winds all of these explorations in a tightly constructed mélange of dubstep, electro, breakbeat science, and freaky trip-hop. GGD claim that this record was influenced by the bombast of reggaeton blasting on N.Y. streets. Maybe so, but the brew they've conjured is their own. It's easily their most fully realized project to date and rather than simply a pastiche, they've managed to create something that's completely their own."

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Jackie-O Motherfucker - Fig. 5 (2000)

From allmusic (4.5/5):

"In its superb 2000 LP, Fig. 5, Jackie-O Motherfucker was inspired by drones, ethnic and folk musics, free jazz, and the hippie spirit of the Grateful Dead, but Fig. 5 melds these genres so effortlessly and convincingly that the results barely resemble any of their antecedents. Captain Beefheart's Trout Mask Replica is probably the most famous precedent for this sort of free-thinking fusion of jazz and folk music, but Fig. 5 is far less forceful than its late-'60s forebear. Jackie O's interpretation of "Amazing Grace" is perhaps the best example of the eclecticism at work here: Violin, harmonica, and banjo settle into a plodding drone that sounds like a skipping recording of a drunken Appalachian band. Then, various wind instruments glide around the drone in a free, fluttery manner that's halfway between Arabic taqasim and the Art Ensemble of Chicago. Elsewhere, the group plays bits of old American spirituals, Dirty Three-ish indie rock, Duane Eddy-like guitar twang, and electronic noise, all to good effect. Jackie O's ability to incorporate elements of so many disparate kinds of music without seeming dilettantish is remarkable; the band's ability to do so without showing any seams is extraordinary."

Get it here.