Originally Posted by Dayvan Cowboy (Post 922389) The next song, Take Pills, opens with an unidenifiable sound, that serves as a form of percussion in the background, making way for Panda Bear's hazy, harmonized vocals.

Originally Posted by sidewinder (Post 923303) Wow Person Pitch that good? I should have a re-listen one of these days.

#6: Amon Tobin: Out From Out Where
http://i887.photobucket.com/albums/a...g?t=1283125816

Sorry guys, I couldn't find an appropriately sized album image. This turquoise (my favourite colour!) coloured square will take its place. Shame, it was one of my favourite album covers, with all of the Amon Tobin futurism I love.

Well, the first song on the album, Back From Space, is without a doubt one of Amon Tobin's more known songs. I've heard it everywhere. It starts out with some pretty, crystalline synth noises common to his genre. Once the song gets going, his signature throw-the-plates-and-knives-down-the-stairs percussion moves in, giving it his futuristic touch. About 2:40 in, the song takes an atonal, rushed turn. This is one of my favourite opening tracks. He couldn't have picked a better song. The next track, Verbal, I find sounds a little out of place, but that doesn't mean it isn't an awesome track, it just means that this song certainly belongs to another album. Verbal is filled with acoustic (I think) guitars and the signature loud, deep bass of Tobin's other work, along with pitch-shifted cut up vocals. The next track, Chronic Tronic, is A more percussion oriented song. with a thudding electronic bass line and intricate drums, and staticky sounds all around the song. This track is one of the harsher tracks on the album, but also a favourite. The next song, Searchers is without a doubt the most cinematic song on the album, digging up memories of old crime and espionage films. This song is just begging to be included in the next spy movie. Hey Blondie, the next track, comes floating from the distance. This song heavily relies on guitar samples and highly modified drum sounds. It's one of the funkiest tracks I've ever heard (That wasn't by !!!), digging up memories of flying by plane at night, with it's urban charm. Rosie's, is another guitar-orienteed track, with it's main melody centered by guitars. this track comes complete with cinematic zooms and swooshes, that sound like they belong in a sci-fi film. This track is also totally badass, with it's huge sounding bass, and spanish sounding guitar bits. Also, where on earth did he get that damn sample in the middle of the song? Ever since I've heard this album, I've wondered. Maybe he made it himself, or he got it from a movie. This guy probably has sampled everything there is to sample. Cosmo Retro Intro Outro, is the song with probably one of the most memorable melodies, and is a song that I just want to dance to, and is one of my favourites from the album, due to it's sheer catchyness and the fact that it reminds me of the R'n'B I heard on the radio when I was six. Triple Science, the next track, is the most abrasive of the album, showcasing Tobin's hardcorer side, with rushing, speedy percussion that may put some IDM newcomers off at first listen. Once you finally get into this track, it's very rewarding. After five minutes, the track falls apart, and makes way for El Wraith, another favourite from OFOW. This track is very dark, slow and deep. and is filled with interesting samples. El Wraith is the biggest sounding track, with it's hispanic-sounding flair and pure cinematic-ness. This is a track to turn up loud, very loud. The track fades out into another favourite, Proper Hoodidge, which is a revisit to the sound of a preceding track, Chronic Tronic, with a very deep, loud bass line. This song is also the most glitch-influenced, with dozens of odd computer-generated sounds floating around, and at one point it starts to sound like a windows error. The closing track, Mighty Micro People (I can relate to the song title XD), is a slower song, that closes the album in a flurry of sped up vocal samples and twinkly noises.

This is considered to be Tobin's worst album, but to me, it's five stars, due to the sheer amount of beautiful and sometimes harsh electronic sounds being packed in there. A truly top-notch and atmospheric jazzy IDM piece that really deserves more recognition. Good job, Tobin!

TL;DR version:
Even though it's considered his worst, I think it's his best. he took on a harsher, more electronic edge and made a beautiful cinematic album that could be a soundtrack to a crime film.

Originally Posted by Dayvan Cowboy (Post 924361) also, after a little bit of thinking after the Amon Tobin review, I decided on a name for my journal: One Very Important Thought: Dayvan Cowboy's Confessions As A BOC Nut

Originally Posted by Zarko (Post 924379) It's considered his worst? According to who? If anything the Splinter Cell is considered his 'worst' with Foley Room dividing the most opinions. But thats just from what I've seen.

Originally Posted by Dayvan Cowboy (Post 924382) I hang around with a lot of BOC fans, and they can be pretty picky. I know that the electronica fans didn't like the Splinter Cell album but I've heard a lot of negative buzz around OFOW. but yet again, Electronic fans can be pretty bad. Especially the IDM goers, battling over a genre that shouldn't exist.

Originally Posted by Zarko (Post 924384) Was wondering wtf BOC meant, then remembered it stood for Boards of C***s. Heck,Tobin isn't even an IDM artist. Either way, dunno how anyone can hate an album with Rosies on it. EDIT - Splinter Cell soundtrack also kicked arse.

Originally Posted by Dayvan Cowboy (Post 924397) hehe... you've been around BOC fanboys? As a member of the BOC forum Twoism, I come around some pretty bad ones. Also, the fanboys on the We Are The Music Makers forums can be pretty bad, but not as bad as the Twoismers. And I've always seen Amon Tobin as an IDM act (especially on this album) because he wasn't slow enough to be any kind of Trip-Hop, and he isn't jazzy enough to be an electronic jazz artist, so I could only come up with the conclusion that he could belong in the dumping ground of IDM. Also, I've been meaning to check out the Splinter Cell soundtrack, but for some reason, I have something against soundtracks, and there are a few that I've been meaning to DL, like the Inception Soundtrack (the music in that movie kicked major arse). I might get around to doing it.

Originally Posted by Zarko (Post 924399) Trip-DnB. Trip Hop doesn't have to be slow. Pretty fluent DnB influence throughout. Soundtracks are only not worth getting when there's 8-9 different artists and you only like one. But with ones like SC, + the Silent Hill games, it's well worth checking them out.

#5: The Mars Volta: De-Loused In The Comatorium
http://algoritmomusical.files.wordpr...comatorium.jpg

Yeah. I wrote a nice long review for this, but then I re-read it and I figured that I'd be murdered by old school proggies for all of the classic prog bashing so I'm just going to keep it short. Cool album, cool sounds, cool guitarist. Good album.

Now, I'm not going to write another review because no matter how I write it, I'm going to go on about how today's prog is much cooler than yesterday's prog. also, a quick question... is that Cedric in the background of the album cover?

La Fin

Originally Posted by sidewinder (Post 924734) You mean la fin? ;) Great album! Well deserving of its position. I don't know if it would be all-time #5 for me, since I'm old and all, having heard many more albums I assume...but it's damn good. Props for the Amon Tobin too, of course. It was the first of his I ever heard, but it took me a few years to warm up to his style and then check out other albums. I'm not sure why.

Originally Posted by Dayvan Cowboy (Post 914930) Good point. It's kinda odd having Avril 14 playing and all of the sudden HUGE HARDCORE FAST MONSTROSITY!. also, I haven't gotten hidden yet. I do think their criticism is unfair. I think they're pretty cool but the critics all disagree.

Originally Posted by Dayvan Cowboy (Post 924676) 'm going to go on about how today's prog is much cooler than yesterday's prog

Originally Posted by rammetal7 (Post 925051) what! no, no way that can be proven!

Originally Posted by Dayvan Cowboy (Post 925054) proven :)

Originally Posted by rammetal7 (Post 925056) seriously, this is old prog vs new prog, and old prog has!

Originally Posted by Dayvan Cowboy (Post 925058) I like Floyd and all, but my vote seriously goes to new prog. Coheed and Cambria can go die, though. I don't like them :(

Originally Posted by rammetal7 (Post 925056) seriously, this is old prog vs new prog, and old prog has!

Originally Posted by sidewinder (Post 925361) I was going to say something along the lines of "damn you try to make a case for old prog being better and you use something from The Wall as your evidence?" But I decided against it. :D Good song, but not particularly exemplar.

Originally Posted by rammetal7 (Post 925486) but Pink Floyd is Prog... Dayvan had nothing against me using that song as a example... maybe I should of used a different song, "Shine On You Crazy Diamond" maybe?

#4: Don Caballero: What Burns Never Returns
http://betterpropaganda.com/images/a...ellero_480.jpg

OMFG, best math album ever! (that came out a bit n00bish, sorry) Everything about this album is stunning, from Damon Che's eight-armed drumming to Ian Williams complicated, crystalline guitar melodies. This is THE math rawk album to get if you're new to the genre. If you don't listen to math rock, GODOWNLOADITNAO! but, don't get anything after American Don because it's not the true Don Cab, and is just Damon Che show-off crap, devoid of Ian Williams's undeniably epic energy, and wicked guitar playing.

The album opens with Don Caballero 3, a straightforward, stern song, with Williams' atonal guitar rambling, and Damon Che's mathy beats on the drums. This song has two distinct parts, the stern beginning, and the sunnier second part, with a much less stern melody, and is less atonal. The next track, Charging Bull (whose full title is over ten words long) is a fan favourite off of the the album. This song is very minimalist, but in a good way, with guitar ramblings that bring a tear to my eye. The 2:20 mark and onwards, is one of Math Rawk's best moments, with one of the best guitar lines in the history of rock. And my god, the drums on this album are so warm sounding, and pretty! I could go on forever about them! The next track, Delivering The Groceries At 138 Beats Per Minute, is a distortion filled, manly song, with a big, caveman-esque guitar line that just defines my laws of awesome. Slice Where You Live Like Pie, the mathiest, most confusing track on the album, is gorgeous, With it's distinctly minimalist guitar grooves, and ever-changing beats. I've never heard instrumental music this emotional, or complexly beautiful. Room Temperature Suite, is my favourite off of the album, with it's undeniably sunny, Spring feeling to it. It's so warm sounding, and it truly touched my heart. Also, there's an interesting story behind this track: my friend (who's a drummer) wanted to know what I listen to, so I put this track on. I have never seen somebody's brain melt at that rate before. She was a bit amazed by what time signature the bro on this record was drumming in. A truly amazing, alien track, in my opinion. The album's best. The World In Perforated Lines, the album's most sad, pissed off track, is the first Caballero song I've ever heard, and still amazes me to this day. I wish the track lasted longer, as it is the shortest on the album. From The Desk Of Elsewhere Go, one of the sadder sounding songs on the album, conveys feelings of pain, and despair without having a single word spoken. That my friends, takes talent. The last piece, June Is Finally Here, is truly beautiful, gorgeous and sunny. This song has special meaning to me, because my birthday is on June 3rd, and I would always play this on my birthday. Whenever I hear it, Memories of birthdays from the past pop up, along with feelings of love, happiness and anticipation.

This album is a math rawk classic. Everything from the album cover (one of my favourite covers ever) to the music behind the cover is pure gold. If you're new to math rock, or want to check out to see what the genre's hype is all about, try this album out. Only if we could try to make new Don Cab suck less'....

Originally Posted by rammetal7 (Post 925486) but Pink Floyd is Prog... Dayvan had nothing against me using that song as a example... maybe I should of used a different song, "Shine On You Crazy Diamond" maybe?

Originally Posted by jackhammer (Post 925574) Nope. That would have been an even worse example. Pink Floyd stop being prog around 1970.

#3: Tyondai Braxton: History That Has No Effect
http://farm4.static.flickr.com/3075/...043c8f.jpg?v=0

No album cover to be found... sorry folks :( this turquoise thing is going to have to replace it. Anyways, this is a bit of an obscure album that a lot of you guys would hate, but I love. This was made before Braxton was in Battles, before he even mattered, and I must say, this album is beautiful, droney and takes a while to get used to. It's quite abrasive, that's for sure. Not a recommended download, because it's mostly an acquired taste.

The album starts out with the droney, abrasive (a sentence worth a thousand words) Great Mass. It's filled with distorted guitar, distorted voice and infinite layers of noise. whenever I hear this song, I zone right out. It's hypnotic. The next track, Haunt The Ghosts Who Haunt Me, Better, is a song that starts out with a simple vocal sample, and progresses to become some electronic, beatboxed, distorted masterpiece of interesting sound, with weird vocal samples that sputter out and repeat into infinity. The next track, (whose first name is just a long line of gibberish text) I'm Gonna Start Shinin' Bright!!!!!! is a long piece of odd distorted sounds carried off from the previous track. This is the album's most abrasive. The high point on the album, Raise Yr Arms And Cross Them, is a little guitar piece with a cello, and several weird unidentifiable noises. The next two tracks, (Search Party) 2AM, + (Search Party) 5AM are ink black, unpredictable guitar pieces, that shock you every time a note is played, due to the sheer a-rhythmic randomness. Listening to the Search Party songs while going to sleep is a bad idea, also. The next track, The Violent Light Through Falling Shards, is possibly the best on the album, with confusing guitar lines, buzzing-beehive drones and a flurry of random vocal samples in the background. The longest track on the album, Struck Everywhere, is the first track on the album where Tyondai's voice is audible and is actually singing words, although unintelligible. This is one of my favourite tracks on the album. It's filled with shimmery effects and more drone-esque sounds, And Ty's voice sings drawn out, glittery phrases, that are warm and fuzzy. I think Tyondai is the only person in the world who could pull this song off so perfectly. The album closer, Hold On To Distance, is the only song with intelligible lyrics. This song is filled with beatboxing, distorted guitars, and minimal synth lines. The song fades away and ends the album on a happy note, despite the darkness of the previous songs. I approve.

If you're truly curious, go and download it. It just takes a bit to get used to.