jeromium

(the) Melvins - (a) Senile Animal

That's because there was no special edition – to my knowledge they all had that clunky packaging with lenses, and it was never said to be a limited release. Of course that doesn't mean it wouldn't have gone out of print at some point. Same has been said for this one, right? It's the only version of the CD they're planning to release? Pretty nuts though, to not make a more standard version without LED screen. But I guess CD sales aren't as high as they were in 2006.

Packaging & artwork do seem cool aside from the gimmicky video player. But yeah, I thought that kid was gonna tear open those pockets! 😲 As a few have said, I'll happily wait another 5 days to hear this on Spotify, after this epic wait. I never go for leaks no matter the artist, anyway.

I'm not planning to give up, but I've definitely cut back this year. The primary factors were: Limited space Moved in April and didn't set up my stereo for several months so I fell out of the habit of looking & buying I work from home a lot and before moving, I was in a 1BR apartment with desk in same room as stereo. Now in a house, stereo is in living room and while it's close to my office I would just have to turn it up louder, and it's more of a distraction to go in the other room to flip records and shit. My g/f and I combined our collections when we moved in together, and now when I browse it's just weird having so much stuff in there I don't recognize...I give up more quickly when I can't decide and just play digital. Heh. There are other things I'd rather spend my money on for the most part, like home improvement. I mostly put on records while making & eating dinner nowadays. But still find that I play them a lot less often than I used to. So I'm buying a lot less, but I'm not trying to sell it off or anything. Everything's sitting comfortably behind me as I type. It's sitting comfortably under the bluetooth speaker I'm currently listening to.

This statement...very 90s/00s hahah

Nice. Loving that artwork too.

I like a good chunk of Trouble in Mind's releases, but for me there have always been things I liked and didn't like – it doesn't necessarily feel like I'm starting to like less. The Possible Humans album they just re-issued is quite good. But my favorite stretch was probably 2013-17. Jacco Gardner's debut, Morgan Delt, Ultimate Painting's debut, Primitive Parts, Beef Jerk, The Hecks, The Paperhead's Chew. And decent stuff from Dick Diver and Omni.

Missed this thread, but did notice last week that they'd announced a new album. What I didn't realize was that they went from Trouble in Mind to Sub Pop. I've enjoyed their last few albums, but haven't been blown away by any means. There's always a few great tracks. Will check this one out, but expecting about the same quality.

https://store.matadorrecords.com/no-home-record ‘No Home Record’ will be available on standard black vinyl, limited edition white vinyl, CD, or cassette. Get 15% off your order when you bundle the record with a tee (featuring stills from the “Sketch Artist” video directed by Loretta Fahrenholz) or album art tote. 1. Sketch Artist 2. Air BnB 3. Paprika Pony 4. Murdered Out 5. Don’t Play It 6. Cookie Butter 7. Hungry Baby 8. Earthquake 9. Get Yr Life Back With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music. Gordon continues this pursuit on No Home Record, her first-ever solo release, produced by Justin Raisen (Angel Olsen, Yves Tumor, John Cale, Charli XCX, etc.) and recorded at Sphere Ranch in Los Angeles. Borrowing its name from a Chantal Akerman film, No Home Record is, in many ways, a return as much as it is a departure. When Gordon first began playing music in the early 1980s, she used a guitar, a drum machine, and some lyrics sniped from magazine advertisement copy. No Home Recordcontains echoes of that setup, in both form and concept. On “Cookie Butter” (produced by Shawn Everett), Gordon’s vocals jut out insistently over a tinny raindrop beat: “You fucked / You think / I want / You fell.” The song continues, hectic and driving, until finding resolution in the lines “Industrial metal supplies / Cookie butter,” perfectly illustrating Gordon’s singular lyric capacity to meld cultural critique, divulgence and humor. This captivating ability is further exemplified by “Don’t Play it Back” (produced by Jake Meginsky) where Gordon’s wiry vocals slice the track’s circling electric floor: “You don’t own me / Golden Vanity / You can pee in the ocean / It’s Free.” This nod—with a wink—towards culture’s increasingly fraught (and increasingly commodified) relationship with identity and the self is one of No Home Record’s central themes. “Shopping off a cliff / You’re a breath on my eye / To lose a compass of teeth / Hash away at twitter,” Gordon recites, phosphorescent and dirge-like, on the album’s stunning closer “Get Yr Life Back Yoga,” “Everyday, everyday, everyday / I feel bad for you / I feel bad for me.” It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

Sure does look like it's missing.

Kewl. Glad this doesn't include the recent singles. Don't know about that art installation so I think these will be new to me.

After 2 listens, I'm actually in this camp. It's quite good and the length doesn't bother me. I'm still more annoyed by the length and placement of "Anthemic Aggressor" on Smote Reverser, and that album is 20 min shorter. These new longer tracks work better. Doesn't mean I still wouldn't appreciate some fat being trimmed, but I like it. Probably my favorite since A Weird Exits.

I like Blood eyeball too, but can't help thinking the blue compliments the cover better. Still haven't ordered one though.

Colored vinyl comps are up. Blood in Your Eyeball Blue Nebula

Interesting variety on the album so far, almost at the halfway point (halfway through "Scutum & Scorpius"). Probably a good thing I listened to Neu! while working late last night.

4LP? jesus christ. No.

That gives me hope, although it's hard to imagine "ripping & catchy" given the length. Upon closer inspection though, the album itself is very long but there are only 3 songs that can really be considered long on their own, at 7:49, 14:24, and 21:01 minutes. Might be one of those albums where after a few front to back listens, I trim the fat for replay value. I haven't done that in a while. We'll see! Anxious to give it a go tomorrow.

I was thinking about this myself the other day. Let's take a stab at it. Title implies a single album that's gonna be real tough. Ty Segall - Manipulator (2014) White Fence - For the Recently Found Innocent (2014) Clinic - Free Reign II (2013) Sunken Foal - Friday Syndrome Vol. 2 (2013) Parquet Courts - Human Performance (2016) Total Control - Typical System (2014) Thee Oh Sees - Carrion Crawler / The Dream EP (2011) Liars - Mess (2014) Deerhunter - Halcyon Digest (2010) Flying Lotus - Cosmogramma (2010) Mutant Beat Dance - Mutant Beat Dance (2018) Suuns - Images du futur (2013) Kurt Vile - Wakin on a Pretty Daze (2013) Most solid year goes to 2014.

My favs so far: Clinic - Wheeltappers and Shunters Autechre - Warp Tapes 89-93 Plaid - Polymer Ty Segall - First Taste Possible Humans - Everybody Split Hierophants - Spitting Out Moonlight These New Puritans - Inside the Rose Deerhunter - Why Hasn't Everything Already Disappeared? Bibio - Ribbons DROOL - DROOL II Institute - Readjusting the Locks Cate Le Bon - Reward U-Bahn - U-Bahn Tyler, the Creator - Igor Pile - Green and Gray Autechre may not stay on my final list since it's not technically an album, but damn is that some mind-bending archival stuff.

Been noticing this the last few days, MacBook Pro using Chrome. Last unread seems to just take me to the top of the page no matter what, and same thing if I click on a notification when someone quoted me or reacted to a post. Doesn't take me to the right place.

Yeah, super fucked up they're leaving some content off the only official physical release at this point. Not that I was planning to buy that bullshit anyway.

Some wack song titles for sure. 🤨 I only wish they were just fucking with us.

Goddammit, haven't listened but everything I'm reading above is confirming my fears regarding their recent trajectory. Smote Reverser's replay value was negatively impacted by the long and aimless "Anthemic Aggressor" right in the middle. They were starting to lose me a bit on Orc already, but at least that doesn't have anything too long. It was bound to happen. Glad this is the first of their LPs in a while I haven't pre-ordered. And don't get me wrong, I don't object to long songs if there's a reason they're long and they're in the right place. I listen to a lot of prog - not so much recently but I went through a phase a few years back wherein I explored a lot of international prog and that's almost all I was listening to. But I'm also a fan of standard-length albums between 40-50 minutes and anything over 60 minutes ALWAYS includes filler.

Hope it's streaming on day one! I feel like some Castle Face stuff shows up on Spotify a little late.

My thoughts exactly. Undertow, Aenima, and Lateralus are distinctly different, even though I recall the lead singles for Aenima and Lateralus at the time having a familiar-sounding, "this sounds like a previous track" guitar riff. Same of course when "Vicarious" was released prior to 10,000 Days, but that album was the first to not feel like much of an evolution. I guess others have said it by this point, but I don't know anyone wishing for 10,000 Days part 2. I enjoyed the album when it came out but it was the first lukewarm Tool album for me. I haven't played the album in ages, but that was the highlight for me.