Like the ner tamid, the album’s light shines on nearly a quarter-century later. It worked because they never totally lost touch with their previous roots in gospel-tinged, Stones-y Delta rock, with singles like “Movin’ on Up” and “Come Together” splitting the difference between the rapture of the church and the club, simultaneously serving as the Saturday night rager and the Sunday morning repentance. The once-indie-pop Scots followed producer Andrew Weatherall - who set the band on their path to dance-floor Valhalla by turning blearly-eyed ballad “I’m Losing More Than I’ll Ever Have” into the every-way-ecstatic rave-generation anthem “Loaded” - all the way down the acid-house rabbit hole, convincingly turning into psychedelic glowstick enthusiasts who lived the life they loved and loved the life they lived. One of the least likely career reinventions in rock history, though perhaps not even the biggest about-face in Primal Scream’s peerlessly shapeshifting discography. Those sour melodies, that hysterical emotion, the rainy atmosphere, the Daliesque poetry, the Orwellian visions, and the bulldozing rhythms that blow a hole through the middle… Who even cares that Iggy Pop’s reading a ransom note on “Enfilade”? This s**t’s brutal magic. At the Drive-In, Relationship of CommandĪ monster of a rock record that spoke its own surreal language and slam-danced to a breakneck symphony of screaming guitars, this post-hardcore landmark rips to an absurd degree - 15 years later, it still hasn’t been outdone, by Cedric Bixler-Zavala and Omar Rodríguez-López, those Sparta guys, or anyone else.
HANGDOGS THE GUN SONG LYRICSX CRACK
And in between history lessons, they crack wise, i.e., rhyming “feminine” with “Danish rings by Entenmann’s.” - JASON GUBBELS 177. Coltrane and Slick Rick receive tributes, ghettos decried as inner-city concentration camps, much love offered unto sisters - from Tanzanian beauties to Toni Morrison. One of the great rap one-offs and self-described “best alliance in hip-hop,” Brooklyn edition, Talib Kweli and Mos Def pooled their talents into a late-era Native Tongues project named for Marcus Garvey’s shipping line, which is of course perfect: black nationalism meets black entrepreneurship. Black Star, Mos Def & Talib Kweli Are Black Star The result is a singular album that finds the extreme in the middle, using its album title more as a rallying cry than a description. Unlike the Jesus and Mary Chain and most of the 25 years’ worth of distortion-pop bands that followed in their wake, there’s no separation in between the barbed wire and the kisses for No Age: They’ve been merged into the crackling riffs of “Fever Dreaming” and “Shred and Transcend,” the garbled grooves of “Skinned” and “Sorts,” until the original elements are totally indiscernible. The rare punk album more about texture and composition than adrenaline and messaging - or the rare noise-rock album more about rhythm and melody than hypnosis and abrasion - Everything In Between stuns with craft and inscrutability. Also Read Animal Collective Cancels European Tour Due To COVID-Era ‘Economic Realities’ 179.
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