Five Songs, 6/21/2018
Five Songs

Five Songs, 6/21/2018

Today's list.

Pavement, "Krell Vid-User"

I've complained about the total lack of quality control on Pavements non-album material. For every "Texas Never Whispers" or "Unseen Power of the Picket Fence", there were a dozen songs like this one lurking in the wings. But hey, at least we've got basically every studio dropping ever put on tape by the band lovingly preserved in deluxe editions! That way you can listen to that junk once and never again!

Unrest, "Shag"

Kustom Karnal Blackxploitation is a crappy name for an album. Sorry, "krappy". Anyway, Unrest would be better known for their later elaborate pop, but this album was full of various post-punk experiments. Some of them didn't really land, but I always thought it was more interesting than their better known stuff.

Vince Staples, "C.N.B."

Hell yes. The list of great rap double albums is pretty short. Life After Death, Speakerboxxx/The Love Below (although that's really more like two albums, not a double album), Wu-Tang Forever...I dunno, there just aren't that many I'm thinkin of. Summertime '06 belongs on that list as one of the most consistent, and it's even Staples's debut. A great album.

Queens of the Stone Age, "Leg of Lamb"

I love the solo in this song - brief, yes, but there's a purpose to it. The little staccato squeals, the way it kind of just goes nowhere, it gets in and out. It adds a little bit of surprise to this pretty straightforward rock song, and this would be a lesser song without it.

Panopticon, "Come All Ye Coal Miners"

There have always been strains of folk running deep inside of black metal, but Panopticon made the unification explicit in Kentucky. The album is a theme album exploring Appalachia and coal mining especially, incorporating the imagery and sounds of the folk music in the area and melding it with the fury of black metal for an unforgettable combination. While it's not always seamless, it's still an impressive achievement. This song, from that album, is actually just a straight ahead cover of a folk musician from Kentucky, Sarah Garland Gunning. It nestles on the album between two 10 minute epics, and provides some interesting contrast.

Joshua Buergel
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