transcendent cuts

Favorite new record? Favorite old record? Got a band? Post it here.
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starflower
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Re: transcendent cuts

Post by starflower » Sun Dec 25, 2016 4:20 am

Happy to see M by The Cure right above! Surely one of the finest early Cure tracks from the first decade.

For me, I have my money on This Twilight Garden, the B-side from the High single: https://www.youtube.com/watch?v=PQp3oWdS7cw" onclick="window.open(this.href);return false;

All in all, the themes of love and hate off of Wish are some of the most poignant in the band's career, but the way the words of This Twilight Garden are weaved into the melody of the song seems to show the ne plus ultra of Bob Smith's writing...it's a dreampop love song from 1992 that nearly outdoes the scene itself; and a perfect Cure song at the same time. And although the bell tones of the instrumental sections have a swung delay to give the track a shuffle feel, it's cool how Boris keeps straight eights, only doing relaxed 16ths later on but keeping the track so wonderfully grounded by never swinging the hats, just doing his signature groove that made his era of The Cure what it was.
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Re: transcendent cuts

Post by budda12ax7 » Sun Dec 25, 2016 3:35 pm

starflower wrote:Happy to see M by The Cure right above! Surely one of the finest early Cure tracks from the first decade.

For me, I have my money on This Twilight Garden, the B-side from the High single: https://www.youtube.com/watch?v=PQp3oWdS7cw" onclick="window.open(this.href);return false;

All in all, the themes of love and hate off of Wish are some of the most poignant in the band's career, but the way the words of This Twilight Garden are weaved into the melody of the song seems to show the ne plus ultra of Bob Smith's writing...it's a dreampop love song from 1992 that nearly outdoes the scene itself; and a perfect Cure song at the same time. And although the bell tones of the instrumental sections have a swung delay to give the track a shuffle feel, it's cool how Boris keeps straight eights, only doing relaxed 16ths later on but keeping the track so wonderfully grounded by never swinging the hats, just doing his signature groove that made his era of The Cure what it was.

I haven't heard this in ages. Boris was such a good drummer. There are lots of Cure periods, I do like the very early stuff though.

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Re: transcendent cuts

Post by rank » Mon Dec 26, 2016 12:22 pm

In no particular order off the top of my head:

King Crimson: Starless
Television: Marquee Moon
The Beatles: Tomorrow Never Knows
Scott Walker: It's Raining Today
Talk Talk: The Rainbow
Beastie Boys: Something's Gotta Give
The Rolling Stones: Gimmie Shelter
Nick Drake: River Man
Marvin Gaye: What's Going On
The Velvet Underground: Candy Says
Neil Young: Don't Let It Get You Down
Swervedriver: Never Lose That Feeling/Never Learn
Superdrag: The Art of Dying
Radiohead: Bloom
Boards of Canada: In a Beautiful Place Out in the Country
My Bloody Valentine: Only Shallow
Can: Future Days
Gravenhurst: Circadian
Chris Bell: I Am The Cosmos
Pink Floyd: Us & Them
Santo & Johnny: Sleepwalk
The Zombies: Time of the Season

I better quit before I end up down a rabbit hole...
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Re: transcendent cuts

Post by countertext » Thu Jan 12, 2017 11:39 pm

Street Fighting Man makes my list. Just noticed while spinning Beggar's Banquet.

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Re: transcendent cuts

Post by mackerelmint » Fri Jan 13, 2017 2:55 am

Maserati - Inventions

Yoshiko Sai - Taiji no yume

Beach Boys - All I wanna do

Kidsaredead - Playmobil Todd

Lightfoils - How it is

Jean Pierre Mirouze - Sexopolis
This is an excellent rectangle

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Re: transcendent cuts

Post by shadowplay » Fri Jan 13, 2017 5:06 am

I was going to pick a Coil track, purely because for me it literally transcends this dimension and seems to come from somewhere else but...who is interested in Coil on OSG...pretty much no one, so I'm going to pick a guitar record.

There's a 1987 album by a Swedish band call Thirteen Moons called Origins, I still remember buying it and it was a little outside my general sort of thing but it seemed to come from a whole other place, just so beautiful, delicately maudlin, deliciously well considered and perfectly arranged. The guitar playing on it is really beautiful and delicious sounding and the whole chamber pop construction of the songs delights me now as much as it did then.

It kicks off with a beautiful and euphoric instrumental called Origins, that I hear as the theme to a beautiful foreign children's TV show about a child and a dog's adventures in the forest. The rest of the album is mostly vocal with a peculiar and yet seductive tremulous quality. At the time I was largely alone in my admiration but over the years I've encountered a few believers among friends and acquaintances and I still regard this record as one of those lost classics that really should have been heard more people. The band had other records but none of them had this singular feel and tender hearted sadness. I'm not even sure why I bought this originally, I think I might have just seen the name on a list and ordered it or perhaps I read a review, can't remember...or I might have bought it because they were on the same label as The Leather Nun! :ph34r:

Some of the tracks are unavailable on youtube but these are as good as any as examples and I think this record had a pretty big effect on my guitar playing.

Thirteen Moons - Origins

Thirteen Moons - Mowgli and Baloo

Thirteen Moons - Undercurrent

Thirteen Moons - As The Dreams Meet The Soil

Thirteen Moons - Suddenly One Summer

D
I like that old time rock 'n' roll, don't try to take me to a disco.

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Re: transcendent cuts

Post by countertext » Wed Feb 22, 2017 7:15 pm

Flipping through some discs this evening and remembered Fleetwood Mac's Albatross. Holy shit, I can hardly believe such a sweet tune ever happened.

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Re: transcendent cuts

Post by countertext » Mon Jul 02, 2018 10:43 pm

Ran across another of my all-time faves. Sly’s Skin I’m In gives me a small existential crisis every time I hear it. Some kind of primordial anguish.

I’m glad I remembered this thread when I put on Fresh this evening. Going back through the suggestions has been great. I’m marveling at Thirteen Moons now, planning to dream sweetly when I fall asleep.

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Re: transcendent cuts

Post by countertext » Wed May 15, 2019 7:59 pm

Here’s one I forgot about: Paul Simon’s Diamonds On The Soles Of Her Shoes.

Better if you don’t watch Paul Simon too much in the video, he’s creepy. He deserves some credit, though, for paying some of Joburg’s best players to make a record for him.

This song was released when I was 14 and the guitar and bass got me. It is 20 pounds of Soweto in a 5 pound sack. Ray Phiri’s guitar is beautiful. Bakithi Kumalo’s bass is beautiful. Ladysmith Black Mambazo is beautiful. I read somewhere that Youssou N’dour played the percussion on it. Paul Simon doesn’t ruin it (though his guitar is out of tune).

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Re: transcendent cuts

Post by Ceylon » Thu May 16, 2019 12:25 am

It isn't one of my favorite songs by any stretch, but since the thread is about songs that seem to be coming from some other place, I think Sonic Youth - Contre le Sexisme deserves a mention. Especially when the guitar starts fading in recalling both rusty metal and background radiation. It doesn't sound like a band in a studio, nor music being played live. It's like three different soundscapes superimposed onto each other, the sound a place (and not a very nice one) would make.

The Stooges - We Will Fall does that same thing for me, and to a lesser extent David Bowie - Ricochet
Science Friction burns my fingers
Electricity still lingers

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Re: transcendent cuts

Post by Ceylon » Thu May 16, 2019 12:31 am

And how could I forget Serge Gainsbourg and Brigitte Bardot - Bonnie and Clyde which seems to come out of some sad, reverby woodland area where it's always raining.
Science Friction burns my fingers
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Re: transcendent cuts

Post by FrankRay » Thu May 16, 2019 3:39 am

Love that Bonny and Clyde; really great. First heard it on Mad Men and had to find out what it was.

Anyway, a few tracks spring to mind, although I suspect half the reason the original songs from the OP hit is the industrial levels of reverb used in the mixdown.

Pink Frost sounds like it was recorded in a practise room with paper walls trying to not upset the neighbours, whilst a light rain was permanently hitting the ceiling. Not only transcendent, but also quite unlike anything else they ever did. Incidentally there's a new film out about Mr Phillips, but I don't think that it's been shown anywhere outside NZ yet.

From the other end of the tracks completely, Original Nuttah. I mean, I live in central London, and probably live next door to Shy FX, but this is from a parallel universe that seems a million miles away. Reminds me of a similar experience in a night club when I first heard Public Enemy. Where did that come from???

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Re: transcendent cuts

Post by luau » Thu May 16, 2019 4:36 am

Night of Chill Blue. It's the most perfect thing I've ever heard.

Tristeza - City of the Future. Those drums.

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Re: transcendent cuts

Post by rank » Thu May 16, 2019 5:37 pm

luau wrote:
Thu May 16, 2019 4:36 am
Tristeza - City of the Future. Those drums.
Not many seem to know of Trizteza. Probably my favorite track by them. Also, Unwound "Below the Salt". An absolutely amazing track. https://www.youtube.com/watch?v=nWL9CLiMOeM
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Re: transcendent cuts

Post by X-Ray Spex » Tue Jun 04, 2019 5:00 am

Gavanti wrote:
Thu Dec 22, 2016 11:42 am
A few that would make my list:
Talking Heads "Born Under Punches"
This is my walking/doing the dishes/doing basically anything jam. That Adrian Belew solo where his guitar sounds like a pinball machine is just amazing.
''It's not what you play, it's what you play'' - Troy Van Leeuwen

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