Indie Rock Albums

Independent Rock Albums

The Pagine nella categoria "Album Indie Rock". Explore the most popular albums with indie rock tags to find new music and discover artists. It'?s a great indie rock album. An assortment of earworms: Indie skirt and garage skirt.

It' Policy, an album by Will Butler.

Indie-Rock Reverendo Lys

A record that is a bevy of vomit. Oh dentro un disco. No. We miss the backup records. I ate canned black cherries and had the debut of Replacements on the record. The one who makes you start a rock group and think it could be the best in the world except the one that runs on your hi-fi system.

The replacements forget to throw the garbage away. Your debut album resonates with this necessary dirt. This is the live recording Terry Katzman recorded during an improvised performance of'Mats in the visual artist Don Holzschuh's recording room, introducing Stink in the years when Minneapolis was really a burning vessel.

There are record stores like Treehouse and fanzines like Your Flesh that pour petrol over the fire. And then there's the flesh that sacrifices itself on these legs: that of Dave Pirner's Soul Asylum (for the record, the guy who sends the cops to fuck off in the opening recording, NdLYS), Final Conflict, Otto's Chemical Lounge, Red Meat, and especially that of Hüsker Dü and Replacements.

The Hüsker and mats also sound pissed off, but they love and hate each other too. Paul makes it clear to everyone else and dedicates his rivals on his debut album the unadulterated Something to Dü. But unlike the Hüskern, the mats drink a lot, they drink too much.

The replacements of the first records know no other language than the choleric language of hardcore, even if they try from time to time to stop and shake off this rage like dogs after a summer rain. But it happens especially one and a half minutes later Go, this slightly crumpled Powerballad, which will lead her to the bitter line of Johnny's Gonna The on the debut album to the unsatisfied of Let It Be by sketching the coordinates for certain Indie-Rock which we will bless years later in the grooves of the records of Dinosaur Jr., Buffalo Tom, Afghan Whigs or Leonheads just to say someone.

With Stink, the generational wrath of replacements goes out, drowning forever in the fearful impulse of those kids Don't Follow, God Damn Job, Stuck in the Middle, Fuck School, Dope Smokin' Moron, who broke into our imperfect world with the same unexpected mercy of the Minneapolis Police in Holzschuh's studios.

But even before the albums of Jason and The Scorchers or Long Ryders...first there was Hootenanny. {\pos(192,210)}Hootenanny is a record in which sobriety is forbidden. According to Westerberg's very approximate guidelines: "It must be as if we were taking one of Pete Seeger's Hootenanny". The result is a Picassian Disc, a jigsaw of quotes and cross-references that is only consciously focused on the next disc.

A record that can only please those who like replacements. The spear used by the Pirate Ship of the Harpoons to record the music of its grandparents is Hootenanny, the spear with which the pirate ship of the harpoons disembowels them under grunts and marbles of drunken villains intoxicated with glue and rat poison. I Replacements.

Suffocated by a scene, the hardcore/punk scene of the early 80s, that requires more rules than it promised to undermine, the Mats decide to leave as soon as possible. From a loser hero like Alex Chilton to the teenage hop of the DeFranco family, from Kiss's kitschy hard rock to Thin Lizzy's muscular rock to Hank Williams' traditional state.

They do this above all by putting together a young and imperfect record like Let It Be, full of anger, confusion, romance, dissatisfaction and humour. The perfect record for your sixteenth birthday. is a fleeting prediction for the punks to come. Seen Your Videotape is a successful, almost instrumental introduction to Gary's Got a Boner, where the Mats sound like gagged Aerosmith.

From the roof of Bob Stinson's house (behind these windows is the band's rehearsal room, NdLYS) the Replacements launch an attack on American colleges. More than four hundred U.S. stations received the promotional copies of Let It Be directly from the band's collaborators and all pushed the record forward to become the most-sent independent record between 1984 and the following year.

Of all the people who are the American undergrounds of the 80's "Undergrowth", Replacements are the first to have signed and released an LP for a Major, who actually expect R.E.M., Sonic Youth and Hüsker Dü. The Sire is the label that gave birth to New York based New York based Poker, which released the records of Ramones, The Dead Boys, Johnny Thunders and Walking Heads and was fully acquired by Warner in 1980.

But much of the money ($125,000) the father invests in the replacements actually comes from the immense proceeds from the sale of Madonna's Like a Virgin. Alex Chilton's candidacy as producer of Tim, the album that opens the contract, is soon abandoned in favor of Tommy Ramone.

The farewell to the independent world and the radios schools that supported the scene is written in the tones of one of the best powerful tracks on the record entitled The Left of the Dial. The other fragile anthems of the season are named Bastards of Young, Bastards of Young, and the underrated Keep My Life, which opens the album in an atypical way, avoided by an initit, as if the group were in a hurry to continue the speech interrupted for reasons of duration on the previous album.

This is what makes what is generally regarded as the masterpiece of the "mats" a masterpiece in two halves. The emphasis on rhythm, an obvious legacy of the producer's musical past, seems to draw the entire group to a more composed, tidy and structured floor, to the limit of the banality of Rock'n Roll in I'll Buy, the grotesque rock in Dose of Thunder, the plagiarism of Spirit in the Sky in the almost eponymous waitress in the Sky.

With a clear, unbiased and fanatical listening we stand before the copy of the self-sufficient disturbance that prevailed in the previous album. It is as if the fire brigade had arrived at the place of the fire, and we were there and looked at the fire, which takes a long time to extinguish, but is inevitably tamed.

When you approach death, the replacements somehow turn into something else. I am one of the heretics who prefer to please-to-met me a tim, despite an awareness, already ripe at the time that the best records that the replacements had already all released, and well foreshadow that an artistic breakdown that would prove to be much more catastrophic than I thought.

I know, I know very well that Pleased to Me is a record that is easy to disassemble. That there are things that are badly processed (e.g. the horrible sounding drums), that all Westerberg's different loves (the blue-eyed spirit, the Hardrock weapon standstill, the Folk, the Power-Pop, the Rock, the David Johansen, the riffs of the Stones) are forced to live together, perhaps too risky and not integrated at all, that sometimes seems a bit unpleasant and cumbersome, that the breast swells like every record of Huey Lewis or Boston that he likes to see, that he likes to see.

But despite all the shortcomings of the case, the Pleased to Me is a record that manages to climb onto the plate with some ease and make its beautiful ride that gives pleasure everywhere. The result is a recording in which, as I said, many things appear out of place and yet somehow find a place.

In 1989, the replacements were expelled into the dark forest of primary bands and came to the final landing of the discovery of the melody that had first crept into the cracks of their hard-core wall like ghosts, through the cracks of the broken mirrors and, after redefining the equilibrium with pink-noise, had now completely tamed the youthful urgency of the early years by finding clear ground and ready to seed Paul Westerberg's new, compliant songs.

Don't Tell a Soul is the album with which the replacements become "everyone's" through melodic ballads like They're Blinds (Practically Facts beyond the Flag Sisters in root version, NdLYS) and Rock'n Roll Ghost, or slippery tracks on which they have to park at any moment the pick-ups of Bryan Adams or Inxs (I'll Be You, Achin' To Be, I Won't, Herewhere's Better Than).

Only a few weeks away from No Depression, Uncle Tupelo's debut album, All Shook Down would have christened for some time a whole range of alternative music based on American root music. And the last act of the replacements immediately finds a home in the rooms where young craftsmen set out to restore old traditional and peasant furniture.

The famous "disco dei Replacements", sung by Federico Fiumani and basically checked in the best possible way, All Chook Down is the most famous "disco dei Replacements", the plate remained in the showcase because it is considered to be perceptive not absolutely necessary. And finally, anyone approaching a Replacements album after Don't Tell a Soul is well aware that the'Mats' albums are no longer necessary, no longer have the vibrant youthful urgency of either Reeko or Let It Be.

They are already playing how the soul asylum of their fellow citizens will soon sound. And he writes things without enthusiasm like Someone Take the Wheel, Sadly Beautiful, Attitude, Bent Out of Shape or The Last, which is actually the last song of the Replacements.

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