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Terry now works at Metal Hammer
I was in Weymouth yesterday, it's still the coastal town that they forgot to close down.
...Posrtland would happily step in with the 'nuclear bomb' to clear it up.
coastal town they forgot to close down?! Definitely not!
SUNSET RUBDOWN, DRAGONSLAYER = 10/10
how many have there ever been? Was "In Rainbows" the last one?
they're like buses
shall have to go back to it. Thought it was, y'know, pretty good...
I was so disappointed by that :(
Have checked out some of their stuff recently and was rather impressed. Think its time to buy some of their stuff.
Just one question though, how are you suppose to pronounce the o)))) bit of their name?
that other bit is just a little picture of a sun as per the logo on the amps.
Man this is not an exciting discussion :(
you just say 'sun'. Which sort of sounds like you're just their mate or something, but there y'go
it's pronounced s'un - like STUN, and the more guttural and growling you bark it, the better.
id probably give it the latter.
i have my fingers crossed that Mew or Hidden Cameras will take the step up from 9/10 to 10/10 later on this year. although to be fair theres only one album out of the past five years i'd give a 10 to.
a few things (like ATD-i 'Relationship of Command', Panda Bear 'Person Pitch, Elliott Smith 'Either/Or'/'XO', Slipknot 'Slipknot', Panic at the Disco 'A Fever...', Weezer 'Pinkterton', The National 'Boxer' and Deftones 'Around the Fur') have come close but I'm still holding out a truly era-defining, life-inverting, can't stop listening to it amazingness to enter my world. And that's why I carry on in my quest for perfection, to find a record which is so undeniably incredible that anyone I play it to agrees it's the finest record they've ever heard.
And there is only one that I can think of that comes close to perfection and arguably my favourite album ever:
Bob Dylan - Blood on the Tracks.
There's no legally/physically/biologically/philosophically defined criteria for 10/10, I'd give it to a bunch of things, though would be loathe to hand it straight to a new album...
Let's face it there will never, ever be an album released that is universally given 10/10.
the human brain responds kinda predictably to degrees of consonance within the mode you're used to, culturally speaking
my recipe for popularity that may actually coincide with greatness:
I-IV-V chord progressions; the odd dissonant chord / note dropped in; distinct counter-melodies on bass / lower-mixed instrument; vocalizing that playfully elides words, but isn't over-stylized; lyrics that DON'T string together buzzwords; narrative aporia and imagistic condensation; Tegan AND Sara
five of those would come close to tens for me...shall we run off into the sunset together?
even ones i hate (weezer/slipknot) i can appreciate that they are sorta landmark records.
i think Loveless is a 10/10 and i think a lot of people would agree. perfection is the only word to describe it
i don't think a 10 rating should be regarded as an unattainable thing. i'd rate the following as 10:
blood on the tracks
exile on main street
slanted and enchanted
there's plenty more.
i mean, you see a lot of 9's handed out on DiS, so you need something to distinguish a truly, truly unique album don't you? or else you're telling me that the manics new album is as close to perfection as anyone is ever going to get
there's not a weak moment on it is there?
And its the only album that will ever have me use the word 'dynamite' to describe just how good it is.
is it true that he re-wrote loadsa the lyrics only a few days before they printed it or something? (Might well be talking shit)
Blonde on Blonde
and I would like to say Aquemini even though it's only a 9 at best
I wouldn't give it to Daydream Nation or Slanted & Enchanted even though I love both, but loveless is a really good shout.
cos I'd give Loveless a 7/10 at most
I'd sooner not use scores and think they're lame. They mean nothing without accompanying text and are a symptom of consensus seeking laziness.
It was for this reason that I felt I had to say that although it's my favourite album of the year, it won't be for most.
Conversely I 'respectfully' understand why people like 'Blood On The Tracks' but personally it would get 0/10 from me. Also I'd always rank 'Isn't Anything' higher than 'Loveless'.
Rating music isn't a useful thing; it's Kanutian in its attempts to implement order onto chaos. This is why top 50 albums of all time lists are always so shit and uninspiring.
Listening to music, writing about music and discussing music are ways to make sense of it. Rating it is just typically male list making and reductive.
That Onion story about Pitchfork giving music 6.7 hits the nail directly on the head.
i disagree with just about everything you've said there. but i'll focus on this: 'They mean nothing without accompanying text' , well most reviews have accompanying text, so it's a moot point. me, i like reading a good review, but i also feel there's something missing if there's no rating.
"i'll focus on this: 'They mean nothing without accompanying text' , well most reviews have accompanying text, so it's a moot point."
You're pruposefully misunderstanding me. Everything is being reduced to scores and capsule reviews. A review works with or without a score; a score on its own means nothing.
'Lifted' by The Lighthouse Family is a strange choice for any kind of positive score.
'Isn't Anything' was genuinely breath taking when it came out - truly novel. 'Loveless', although a great album, didn't have the same impact and perhaps wasn't quite as exciting as stuff that was going on in the field of drum and bass and electronica that year. It has gained a kind of canonical status now that can't be questioned under any circumstance. I've got perhaps twenty reasons why I think it's better. None of which can be explained by a score.
GoatmeatMF: I'll always take an individual list over a magazine's list. It's bound to be more interesting.
Exile on Main Street? Christ what a *dull* smack bleached album that is.
"Isn't Anything" is a decent album with some good songs and exciting sounds on it.
But "Loveless" is one of those career-best moments that just can't be bettered. It's the kind of record that just fully blows the mind, where some kind of alchemy takes place and all the elements click together into something that feels weirdly.. holy, or something. It's just way more than the sum of it's part somehow. It kind of exists in a little space of it's own rather than slotting in neatly anywhere. Which is my alternative way of explaining what John was saying about it's canonical status. It's just really fucking special, and people respond more to that..
you seem to presume that people are so thick that they'll buy an album solely on the basis of the score. it doesn't work that way. people are intelligent enough to take the score with a pinch of salt and pay more attention to the main text. still, the score is a nice way of summing up.
pitchfork uses scores, but you can hardly accuse their reviews of lacking in analysis or being 'capsule reviews'.
if anything, i think having no scores is a bit of a cop out, cos the writer can describe something as a great album without actually putting their head on the chopping block and saying just *how* great it is.
also, i distrust any writer who can't find anything worthy about blood on the tracks or exile on main. even if it's not your thing, surely you can see their strengths.
and you're quite simply wrong about loveless. so wrong i don't know or don't care where to start
actually, ignore that last bit. no-one's wrong. but if you canvassed all music fans you'd probably get 90% Loveless and 10% Isn't Anything
Loveless didn't do much for me at all, just sounded like a big mess.
well, consider yourself a proud member of the 10%. and read this:
will not be shit and uninspired - illustrated by the fact that it has taken me 10 years to think of 3 albums for it. 47 to go.
A spectacularly strange analysis.
better tunes. Your Dad could hum them. I also think its sexier, grr.
But there have been many times where your dismissal of something has astounded me.
Who'd want to have the same opinions?
it's not that though, it's just that it sounds in so many ways like a dress rehearsal or a rough draft of loveless. for people who have the same obsession with MBV as i do, it's an opinion that's really hard to understand. there's a massive thesis that somebody wrote about loveless here:
i'm not saying that proves anything, but it just goes to show how much of a landmark release it was that someone's willing to put that much work into analysing it
Scores are totally pointless. The words can at least inspire the reader to check out the album or think about it differently.
Did you see that thread about 'best bands beginning with the letter A'. ARGHGHGH
0/10 for Blood on the tracks!? I've head some crazy things on DiS but this may just take the biscuit.
I'm just trying to make the point that the score on it's own isn't helpful. If, on the other hand, I wrote an essay on the personal reasons I have for loathing Bill fucking Dildo so much, it might be clearer why.
and use that title "personal reasons I have for loathing Bill fucking Dildo so much".
it's why I like Wire and Rock-A-Rolla. Short, pithy, scoreless reviews. Let words do the talking. A score somehow implies that a subjective review is objective- the number is so fixed and definite.
I really enjoyed your words on Sunn O))), John. You may yet persuade me to get the album, we shall see.
I never would've thought that DiS would understand the glorious noise that is Winnebago Deal but apparently I was wrong
back in the days...
is the only 10/10 album i've ever heard.
I'd imagine it to be good enough to transcend the entire genre within which it sits, or some such nonsense. You know what I mean though. I very, very much doubt that I would be able to listen to more than 5 minutes of this, let alone award it 10.
I'd stand by both. I think they're two of the best albums we've had this decade. I'd have given a 10/10 to The Acorn "Hope Glory Mountain" as well if I'd reviewed that. It's literally perfect.
most are freelancers who write for all walks of publication
fairly diverse spread of reviews on here, always. Sean wouldn't censor a review he didn't agree with.
It's not like these bands have never got coverage here...
It's so annoying to read letters written into magazines saying someone gave their last album 8/10 but the latest review says 3/10.
i tink it should be pointed out though, certain publications will step in editorially if they feel a review is too harsh
because it's his area of expertise. There's certainly no such thing as a DiS editorial policy in terms of what should get what mark, but I suppose it tends to be an indie-centric site by nature. However Monoliths & Dimensions is clearly something of an event record and I thought we needed a review, but I also figured it'd be best to get somebody in from the outside who actually knew what they were talking about!
out too many albums recently, a fair few 9's and 9.5's but the last 10 I could really go to bat for would be OK Computer. I don't think there's been an album since that you would as much nodding agreement that it's a 10.
Christ, I feel like a Rolling Stone writer.
Not a ten.
otherwise a band's best of would be most likely to get a 10/10.
I'd say Kid A approaches being a 10/10 album, but Treefingers on it's own wouldn't sound so great. Funeral works brilliantly as a whole, hence being a 10.
I know what you're saying. But Funeral doesn't cut it in terms of overall quality for me. It's almost there. Their second album kind of illustrates the point, in that, when they aren't singing in an impassioned way about memory and death and emotionally intense stuff, they turn into a really whingey, average band.
it's a good album, innit?
It's not that I think that everyone should have packed up their recording studios in June 1997 and gone "What's the point" I don't at all.
It was more if I did come out for albums and say they were ten/ten in most cases you'd get, as we've seen, a "That's more of a 9.5" reaction or "More like 0/10 for that shit mate"
I used OK Computer as I still think that's the album from the last 15 years or so that would get the least arguments against people calling it a 10/10. Not to say if you don't think it's a 10 you are a bonehead or anything, it's just an easy album to say 10/10.
The other point is how many albums from 1965-1979 have you heard, I've heard a lot and thing they almost all had in common is that someone somewhere thinks they are a ten. Be it a Revolver, Highway 61 Revisited, Astral Weeks, Led Zep IV, Nevermind The Bollocks etc etc. Why bother listening to an album from 40 years ago which is generally acknowledged as a 7/10 at best? Listening to a 7/10 album from a contemporary band who I might be able to see live near me I'm more than happy to do.
I would happily call The Decline of British Sea Power, Since I Left You, Xtrmntr, Kid A, Is This It, Discovery, Original Pirate Material, The Great Eastern, Guerilla, Alas, I Cannot Swim, The Soft Bulletin, Music Has The Right To Children, I Am A Bird Now, Fur and Gold, Sound of Silver, In Rainbows, Third and Tones of Town to name a few 10's or 9.5's. With these I know that large minority (or majority even) will think I'm talking nonsense at worst or overrating stuff at best. That doesn't mean I still don't love the shit out of them all and play them now as much as when they came out. However if someone asked me to be totally objective on all of these and started saying are these 10/10 in the same way that London Calling, The Queen Is Dead, Doolittle and some of my other favourite records of all time are I will naturally hesitate. That's where the Rolling Stone thing comes in, the burden of the history of popular music means giving something 10/10 you are comparing it to the best of the best. It's not the same as cinema where you can say a comedy is a five-star film and you know you are comparing it to other films in the genre, not against 2001, The Godfather, Citizen Kane etc etc.
I'm not a massive fan of albums like Nevermind, and actively dislike Daydream Nation, Born To Run and Appetite For Destruction. I understand where a 10/10 review is coming from for them though as has been said.
that you have to have heard the 'cannon' to have a big picture opinion on new music that's just stupid and arrogant.
At The Drive-In - Relationship of Command
The Mars Volta - Deloused In The Commatorium
of Montreal - Hissing Fauna, Are You The Destroyer?
Dog Fashion Disco - Adultery
Converge - Jane Doe
Mastodon - Leviathan
65daysofstatic - The Fall of Math
Queens of the Stone Age - Songs For The Deaf
Radiohead - Ok Computer
Sigur Ros - ( )
...And You Will Know Us By The Trail of Dead - Source Tags & Codes
I'd give it 9.5 which I suppose would be rounded up to 10/10, so you can add that one :)
Lift Yr Skinny Fists...
Come to think of it, maybe the only anything/10 review.
to order your dially wand, mash the keypad now.
You don't have to say 'oh my gosh'.
In fact, unless you are a 1950s housewife, never say 'oh my gosh' ever again.
It's your website - go mad
Oh My God we gave Sunn O))) 10/10!
Oh My Sweet Fucking Lacerated Christ look at that score!
since the inception of Ida Maria the phrase has been erased from my memory.
plus someone woulda made a joke about the Kaiser Chiefs single I released.
plus this >>> http://www.youtube.com/watch?v=NLkgJoi3jV4
and leave it not-switched-off-properly for an hour by accident.
In The Aeroplane Over The Sea
Slanted & Enchanted
Yankee Hotel Foxtrot
Funeral (Arcade Fire)
VU and Nico
Feed The Animals
don't know if anyone's made the point already, but surely a 10/10 score doesn't mean an album is perfect, just that roughly speaking it's in the top ten percent of all albums anywhere ever...?
so blood on the tracks, daydream nation, relationship of command etc are definites... right?
...it depends. This is definitely true of /5 reviews, but not sure how much it applies to /10 reviews. Think it does, but not as much. It's just that 100% barrier that is hard to overcome. I don't think it should mean perfection, but I think it has to be pretty close. As has been said, the greatness in which makes a record perfect often comes with retrospect therefore making it a bit hard to do so on release.
i prefer reviews to be scored in a percentage, it gives for more scope.
any albums that come close in my opinion
is this it
love is hell
sound of silver
the velvet underground
before the dawn heals us
oh, and best of the beatles
phycocandy must be close
psychocandy isn't without flaws