The Rock Album Survivor Reviews Thread

[JGuy Grungeman]

That's actually what I'm talking about, except for one detail: I think the same could be said for most genres. If that's the case, why are they there? They are still a descriptor. So there's gotta be something similar between them if the original idea is gone and now it has turned into a popular genre. Plus, I'm not worried about other people's definitions. If I disagree on something being alternative, I'll disagree. Yes, alternative has strayed from its original point.

As far as subjectivity goes, I think everyone has their own idea of what a genre sounds like, and if the vast majority agrees on most of the aspects, it's become almost definite. Alternative is still heavily debated. Still, my definition is my definite definition, and I'm not bothered by other people's ideas as long as I'm not being called pompous or anything like that. I'm not looking for people who agree with me. But I still debate it, partially because it's a very engaging topic. As such, I'm not gonna define modern alternative by the past. As far as I'm concerned, the past and the present are just in the same scene, even though they are so different.

That's all I wanna say.

[Frownland]

It is soooooo true that the same thing could be said for any genre. I'm glad that you've caught onto one of my main points. The main descriptor for alternative is simple: it doesn't fit into any other category. The unifying quality is not something that all alternative artists share in their sound as you have been suggesting this whole time.

Hallowed Ground is alternative music too is what I'm saying.

[JGuy Grungeman]

That wasn't my point. I already said multiple times that alternative didn't really start forming a sounf until aft3t bands like Smiths, REM, SYP, and more came out, maning alternwtive in the 80's didn't really have a distinct sound. My main point is I think modern alternative has come closer to a distinct sound.

[Frownland]

So you're moving the goalposts now, gotcha.

[JGuy Grungeman]

What are you talking about? I'm saying what I've been saying. You've been misinterpreting my posts from the beginning.

[The Batlord]

Alright, I'm too drunk to read all that, so I'll just reiterate that alternative rock is an umbrella term in the same way that metal is. Stop trying to come up with a sound to define it. Just accept that it's the sound of underground rock that came after post-punk, and deal with the nebulousness of that without trying to pin down any kind of concrete definition.

[Frownland]

I did misread that one ja, my bad. You've been the one making me question if you ever studied reading comprehension throughout a lot of this convo so maybe don't go throwing around that accusation too readily.

[JGuy Grungeman]

Whatever.

[JGuy Grungeman]

Wonderful Rainbow by Lightning Bolt



Style: Noise Rock, Experimental Rock
Release: 2003
Length: 41 min.
Round: Noise Rock

This is a very strange album, and very unique. Like Treasure by Cocteau Twins, it uses its vocals as an instrument, making them hard to hear and rarely showing up to actually say something as opposed to Cocteau Twins' gibberish “texture.” I did not become aware of this until after the second track.

Upon the first note, I became aware of the album's complexity. I was a little worried when “1001 Albums You Need to Hear” cited the band as “the most vicious drum 'n' bass band.” I don't generally like super rough music, and I'm never been a fan of noise rock (Dinosaur Jr. is one of my fave bands, though). But something about “Hello Morning's” complication made it seem like an art. Was it the emotion? The build-up? It was almost like avant-garde jazz (of course, the band is known to be influenced by Sun Ra). Then came “Assassins” and I immediately understood the art behind their viciousness. They are complex and artistic with their screeching at the top of their guitars' strings. However, a huge flaw in the song is how I can barely hear the vocals. I mean, what the hell is with that? I really hope that isn't an occurrence throughout the whole album, because that would seriously get on my nerves. If they re-recorded this song so that I could hear the singer more clearly, that would make the song perfect. Still, I commend them for their clear artistic ability to use screeches so well in a manner I can tolerate, especially for their very brutal take on noise. Their next track is “Dracula Mountain,” which trades a slight bit of their complexity for a lot of catchiness. And the vocals seem to be an instrument rather than vocals, which is good for the fact that the lyrics are still hard to hear. The song has a second part with a much faster pace and a slightly creepy guitar solo that fits the title well.

Next comes the track “2 Towers.” The track begins with a simple, but gripping drum solo, and then releases an avant-garde experience of distorted guitars. But the track itself (for most if it) isn't as complex. In fact, despite being pretty good, it's lame in comparison. However, the drumming gets very complex. But I feel they are slightly drowned out by the guitars. It continues on into a long solo almost similar to an electronic track. You read me right. Almost similar. It's a reminder of electronic in its own way due to its composition. It's a good track, but it should be shorter. “On Fire,” (which is a cool title” starts out with odd whistling, and then goes into a dramatic guitar solo and some screaming. Obviously, it makes more use of art than the last track. It goes back into prog-rock style complexity and never ceases to be catchy.

Next is “Crown of Storms” which uses its simplicity in a complex manner, an impressive feat backed up by a high-pitched, Eddie Van Halen style riff similar to Eruption. Eventually, it goes back into hard-to-here vocals drowned out by static production. It does this for about five minutes. “Longstockings” is much softer, and uses another repetitive, but not very tiring, guitar solo. It's acoustic this time, and it uses drowned vocals as an instrument again. Next is the title track, “Wonderful Rainbow,” which lasts more than a minute. It';s generally soft,l and kinda weird, taking an acoustic guitar and playing a simple little rhythm throughout. Next comes “30,000 Monkeys.” It's built upon a very fast paced guitar and increasingly complex drums. It soon gets so noisy its sloppy. “uel in the Deep” is next, and it starts out with a Gothic set of screechy guitars. It's built upon these and hard drumming. The song itself gets increasingly noisy.

The album is somewhat strange, unique, noisy, and quite complex. I think as far as noise rock goes, this is definitely one of the better albums. Overall, 90/100. I'd vote it off sooner if some of the better noise rock was on the list, like Sister or a Dinosaur Jr work. Instead I'm introduced to 8 bands I've never heard of, so I have a lot to do for the noise rock. So, this may or may not get voted off soon.

[Ol’ Qwerty Bastard]

The only records in the next battle that I'm familiar with are the two Jesus albums (J&M Chain and Jesus Lizard) but based off of them alone, I'm excited to start listening to the others.