Granddaddy -or- Ogre reminisces about music, and asks for recommendations

Permit me to gather wool for a minute.

OK, so I’m a snobby underground music geek from way back. Ever since punk (in its first iteration) ruled the underground scene, and hip-hop was in its earliest stages, I’ve been interested in all that music which nobody around me ever seemed to know even existed. This, of course, was part of its charm.

Anyway, I was listening when punk tailed off into new wave crap, which spawned “alternative music” and “no wave” later in the '80’s. Loved it. I was listening when rap had its first crisis with pop music and subsequently spawned reality rap, hardcore, and all the various flavors of “alternative rap” that more or less endure today. Somewhere in the morass of the darkest period of the West Coast Gangsta Rap thing (I believe it was in the middle of a Mac-10 video, to be honest,) I let my attention wander, and the next thing I knew, 15 years had passed, and the thread had been lost.

Anyhow, I was all into artsy music. I loved Sonic Youth and Pixies and Soundgarden and Ministry. The Reivers, Sugarcubes, Nick Cave. Tom Waits, The Cure, Gang of Four. The Fall, the Clash, Wire, Lloyd Cole. MTV’s “120 Minutes” was actually playing a lot of really good music, and alternative music was really alternative…there was so much good stuff out there to mine.

Well, sir, somewhere in there, alternative became Alternative…as in, a genre…and it all went to hell. Every redneck bubba with a mullet was listening to Jane’s Addiction and Red Hot Chili Peppers and Concrete Blonde and Fishbone, and before you know it, Nirvana (whom I’d heard a few years before, while working as a college radio DJ - is there any purer geekery? - and about whom at the time I thought, “forever relegated to 7-inch”) was the biggest goddamn band since the Beatles. Never saw that one coming. To this day, I swear I suspected Nirvana would hold a place right next to Tad and The Dwarves’ “Blood, Guts, and Pussy”…that is to say, only geeks would ever know they existed. Better for Kurt if that had been the case.

Sometime when all that was changing for the worse, I started a typically comprehensive flirtation with heavy metal. It seemed there was at least a little mystery left in it, even though Winger and Skid Row were valiantly attempting to beat it to death (I didn’t realize at the time that they had long since succeeded.) I tried all the various flavors. I got into all the '70’s and '80’s stuff. I studiously absorbed Maiden and Priest and Sabbath (plus all their various connections…Ozzy, Rhoades, Dio, etc.), Obsessed, Mercyful Fate, Motorhead, Venom, yadda yadda, yadda. I tried artsy metal. You know, Rush, Dream Theater, etc. I went back and listened to a lot of Uriah Heep and Aphrodite’s Child. I listened to Death Metal when it was strictly a regional Florida thing.

Ultimately, I think it was Black Sabbath who led to my musical taste completely folding in upon itself. While I listened to a lot of heavy metal, I came slowly to realize that there hasn’t ever been a heavy metal band who has ever done a goddamned thing that Black Sabbath hadn’t done before…and better. Add to that the fact that I was reading a lot about the band at the time, and how obsessed they were(hell, everybody was) with American blues music. I realized suddenly that Black Sabbath had never done a goddamned thing that some wailing blues musician from the Delta with an acoustic guitar hadn’t done before.

Besides, Jeff Buckley had died, and things were looking grim indeed.

I don’t want to give you the impression that I had never istened to blues. I had. Quite a bit. However, sometime after Alternative imploded and before another form of underground took hold, I dove headfirst into American folk music. Not 60’s folk revival music. Never could stand that stuff. Way too sickly sweet and vaguely false sounding to me (except for Dylan :)). No sir, I started digging. I was neck deep in roots country, jazz, and blues for a very long time. The trouble with that, of course, is that American roots music is a very deep, pleasant hole. There’s massive amounts of it out there, and you can easily get tempted down a million divergent paths…Delta blues? Chicago? St. Louis? New Orleans roots music? KC blues? West Coast? New York jazz? West Coast jazz? soul? R&B? Memphis? Alternative country? Bluegrass? North Mississippi Hill Country blues? I’ll be immodest for a second and guess that I’ve heard music by pretty much every obscure Delta musician who ever journeyed up to Memphis from Panther Burn, MS, cut a track one night, and got shot dead the next by a jealous husband. Anthology of American Folk Music? Yup. Lomax recordings? Yup. Both of them. Courlander recordings? Yup. If you follow all the threads, you can wake up 50 years later listening to 1950’s Parisian nightclub jazz and wonder what the fuck happened to most of your life.

Aaaaaaaaanyway, the point of all this is that somewhere in there, between Junior Kimbrough and Junior Brown, I lost the thread of underground music. The ska craze came and went. I didn’t notice, and Indy rock blossomed and died. I got introduced to Magnetic Fields, Built to Spill, and Ween in there somewhere. I was mildly interested in Beck. But frankly, Hank Williams and R.L. Burnside seemed much more fascinating. Besides, y’know, I’m getting old and broke down, and blues and country just seem to go so well with aging.

I’m still not sure just what the hell “Emo” is.

Well, I recently decided that I’ve become way too snobbish and insular, and that I’m probably missing out on tons and tons of good music. Besides, I was starting to smell a little dusty. So I sought out my fiancee’s little brother, who is a rather cool, hip kid, and asked him for recommendations. He happily complied, since he’s a music geek, and gave me a stack of music to listen to…including a bunch of really great newish hip hop, which, to my delight, is absolutely stellar. Aesop Rock (wow!), Handsome Boy Modeling School, Goodie Mob, Cee Lo Green, Kool Keith.

Fuckin’ A. This is great stuff.

But he also loaned me a little album called “The Sophtware Slump,” by Granddaddy. Never heard of them.

Wow. Just…wow. Holy shit. It sounds like Wire crossed with the Beatles. How the hell have I not heard of this band? I have been playing this sumbitch nonstop for a month, and it just gets better. They have more music out there, right? Anything I should look for in particular, or is just any old thing good?

Anyway, I feel like I’ve gotte a breath of fresh air, and suddenly, the music scene looks a lot better to me.

So, any more recommendations? Anybody more hip than an out-of-touch 33-year-old biologist have anything to suggest that I simply must hear?

As per usual, AMG is your friend. Their Grandaddy page (note the spelling) has a brief laundry list of similar bands.

You might also want to check out Audioscrobbler’s similarity page for Grandaddy, which is generated off the musical tastes of thousands of regular music fans. Their calculated similarity index seems to be based on how large a common fan base any two artists have, so you’ll occasionally see something weird for a less popular act, but the top ten or so recommendations seem to be spot on. There’s also an Audioscrobbler group for the SDMB, so if you’re so inclined, download a plugin and join us.

I’m not a big fan of indie pop/rock, so I can’t give you any specific recommendations, but if you’re still interested in a little metal, I could help out there.

I have Grandaddy’s Sumday - good, slightly muffled power pop.

I suggest you check out Musicplasma.com. Type in a band’s name and you get a visual relationship chart showing who is related to that band - either due to sounding similar, sharing band members, etc. Very cool if you are doing the type of search you mention.

Have you listened to Fountains of Wayne? Sun Kil Moon? The Shins - or the whole Garden State soundtrack? There is a lot of accessible pop - some tinged with rock (FoW) some with alt.country (Sun Kil Moon), etc… - good stuff.

And of course if don’t have Big Star’s #1 Record/Radio City - then you really don’t know what you are missing…

have fun. Sounds like you have a great foundation to build off of - better than mine!

Sparklehorse.

Thanks for the references and resources. I’ll check them out.

I don’t have any particular affinity for pop music…but I recognize that Granddaddy is quite poppy. Their particular take on it just struck me as really original and listenable, but I’m not looking for a genre. I guess what I’m saying is that I’m not necessarily looking for something that sounds like Granddaddy. I want to hear about all kinds of good music…and sure, I’ll listen to some metal again, ultrafilter. Whatcha got?

Well, I’m not ultrafilter (but like his taste). For metal - strongly recommend Leviathan by Mastodon. Really solid - reminds me of Ride the Lightning-era Metallica…

Have you listened to the Raveonettes yet? I don’t remember Granddaddy much from when KCRW was playing them much, but the Raveonettes seem to have a somewhat similar style, although theirs is a bit more retro.

At any rate, if you don’t have access to a good listener supported radio station, you could do worse than surf over to www.kcrw.com and listen to their morning music program online. Today, earlier they were playing alt-country, not really my cup of tea, but usually their fare is more rock centered with some jazz and Latin jazz thrown in.

Ogre, welcome back. Before we begin, however, you should also know that Grandaddy followed The Sophtware Slump with Sumday, a record probably not as fine as its predecessor, but not without its charms. Well worth seeking out.

Also, I should tell you that the Pixies have got back together. That’s right, the more things change…

Now, there is so much to tell you. Are you a Family Guy fan? Do you know the episode where Brian falls in love with the old opera singer who has isolated herself in her house for the past 30 years and has seen nothing of the outside world in the intervening time? I feel a little like Brian when he sings that “You’ve Got A Lot To See” song.

Uh… but I have no plans to engage in a virtual reality marriage with you.

If you do not watch Family Guy, please ignore the preceding two paragraphs.

OK, if you like Built To Spill, you should probably check out the the rest of the big Pacific Northwest Three - Death Cab For Cutie and Modest Mouse. Both have been getting some mainstream attention lately. Also, in the world of indie rock, right now, Canadians are big news. The New Pornographers makes fizzing power pop; Hot Hot Heat is a new wave throwback; Arcade Fire is a group of impassioned, romantic Quebecois; Broken Social Scene probably include one of every member of the incestuous Canadian scene, and their indie stylings do not suffer one bit from it. Stars is another group of impassioned, romantic, power-pop belting Quebecois, Wolf Parade is one of the best things I’ve heard all year; it’s from Toronto, is on Sub Pop and sound a bit like Modest Mouse. And, to complete the Canadian thing, Godspeed You! Black Emperor and A Silver Mt Zion Memorial Orchestra And Tra-La-La Band With Choir do big orchestral post-rock-y sort of soundscapes.

Back in the U.S.A. you might be intrigued by moody post-punks Interpol, your tolerance of which will depend on your willingness to look past the unoriginal style to the well-written songs contained within. Same goes for the glut of new rock bands out there whom I’m sure you’ve heard of - The Strokes and The White Stripes I find are the ones who’ve managed to outlast the hype.

Across the ocean, Bloc Party is doing a similar thing to Interpol, but angry and punkish, rather than dour and new-wavey. The Futureheads are good too, and if you only hear one of their songs, make sure it’s the Kate Bush cover “Hounds Of Love.” In other UK news, Belle and Sebastian start out like a more fey version of The Smiths and have evolved into sunshiney 60s pop and indie disco. Meanwhile, Maximo Park do that whole post-punk revival thing which is getting pretty old by now, but they still draw some great songs out of the sound, and Art Brut deserve mention because they are the cheekiest fucks around - “Look at us! We formed a band!” they shout on their first single, “Formed A Band”; the next step, they claim, is writing a song that will stay on Top-of-the-Pops for 8 weeks and make Palestinians and Israelis get along.

Let’s veer into a quick emo primer. You probably were still listening to indie back when Jawbreaker and Fugazi were around, and if so, you’ve heard the roots of emo (a shorthand for “emotional hardcore,” which describes the origins of the genre rather than its contemporary sound). However, since then, the genre has evolved into one of the most reviled around. I like it, but it really isn’t everyone’s cup of tea. The names to listen to from the past ten years are The Promise Ring (lo-fi power pop), The Get Up Kids (crossover trailblazers or anemic pop-punk, depending on your viewpoint), Jimmy Eat World (see The Get Up Kids, but more successful), Cursive (bit more cerebral and shouty, bit less teenage), Taking Back Sunday (either combines the best bits of hardcore and pop-rock, or the worst), Brand New (very teenage, but the second album branched out to do some very interesting things within the context of the hardcore/ screamo-pop genre - screamo is emo with extra screaming), Braid (lo-fi, broke up back in the '90s before emo was a buzzword), Sunny Day Real Estate (Seattle, mid '90s, but Smashing Pumpkins-y).

I know I might sound a bit disparaging of emo bands, I do so only because it is something not everyone enjoys and I can see the weaknesses of the genre just as easily as I can enjoy the strengths.

I should also mention Bright Eyes - he often gets lumped in with the emo thing, but he really has little to do with the scene or the sound. Again, if you can get over the dramatics, he’s written some really great songs, and “I’m Wide Awake, It’s Morning,” which came out in January is probably his most solid album to date, a mix of earnest mid-west folk, country, and indie kid DIY.

Also, do you know about Alt.Country - country for people who don’t like Garth Brooks - Ryan Adams, Son Volt, etc. Wilco used to be included this category, but since it started messing round with computers, it hasn’t really been included in this category. No music fan should be without Wilco’s “Yankee Hotel Foxtrot” album, nor “Summer Teeth.” I actually think, you will enjoy these, given your fondness for Grandaddy - they both have that timeless Americana feel, and Yankee breaks that up with electronic chicanery while Summer Teeth is more about breezy, though deceptively devestating pop.

Also, the Flaming Lips is still around, but Wayne Coyne is now more of a crazy cult leader than an acid-freaked dropout. “Yoshimi Battles The Pink Robots” is even better than its title. And, oh wait, you know about Radiohead, right? Radiohead have some similarities to Grandaddy, what with the alienation in the modern world, and the willingness to experiment. And remember how I talked about Belle and Sebastian being the fey Smiths - if you want a campy Smiths, look to Portland, OR’s The Decemberists. Great theatrical indie pop about pirates and wayward British youths.

Oh, shit, I almost forgot. You’ll want to hear Yeah Yeah Yeahs. They may seem like just another art punk band, but then you’ll hear Maps and you’ll fall in love with Karen O. Oh, how I wish I could experience hearing Maps for the first time again.

Let’s talk about Dancepunk. Dancepunk was a genre that was very cool for about five minutes a few years ago, and even though no-one creams themselves over it anymore, it still hasn’t completely gone away. It’s basically punk music you can dance to - uhh… you know the Talking Heads song “Life During Wartime”? If you made an entire genre out of that. !!! (pronounced chk chk chk) should be heard if only for its single “Me and Guiliani Down By The Schoolyard”. It is also imperative that you get on one side of the debate about The Rapture’s “Echoes” - is it an incirdible indie dance classic, or an overrated, boring, overhyped flop? One of the biggest things going for echoes is that it was produced by the DFA - Brooklyns coolest producers. The DFA makes music too, as well as performing it, and when they do they call themselves LCD Soundsystem. That album is likely to appear in many year end best-of lists - I can’t get that excited about it, but I can’t deny that the DFA does know its way with rhythm.

Oh, and still in New York City, Clap Your Hands, Say Yeah appeared practically overnight, and while I haven’t heard enough to say they deserve the instant hype, what i have heard is pretty good. It’s just indie rock, but it sounds great.

Oh man, I’m running out of time. Still, plenty more to get through.

M.I.A.'s record “Arular” is going to be on a load on year-end lists too, and it deserves it. It’s crazy dancehall-reggaeton, grimy British-Sri-Lankan urban-y shouty shake-your-ass music, and M.I.A. knows what to do with a hook, too. And with actual grime - well, grime is a UK form of hiphop that combines slowed down garagey beats with cheaps synths, weirdass samples, or anything else that can be found round the streets of London. Dizzee Rascal is the undisputed king of the genre, but his cohort Wiley is good, as is Kano, Lady Sovereign, Roll Deep crew.

The Streets is also a British rapper, but he’s more conventional, and although his mic skills aren’t great, he makes up for that by being a consumate storyteller.

American hip hop is incredibly fertile, despite what those who think the genres golden days are over say. In the underground, you should try some of Aesop Rock’s labelmates - the label is called Def Jux, start with Cannibal Ox or Mr. Lif. The West Coast backpacker thing is Anticon, and be prepared for some weirdness - some people aren’t even willing to call this hip hop. In other underground matters Atmosphere can be pretty good, Murs’ 3:16 (The 9th Edition) was one of my favorite records last year, and DM and Jemini is a duo who’s producing half - DM or Danger Mouse achieved notoriety last year with his unauthorized mash up of Jay-Z’s Black Album and the Beatles’ White Album. And we’ll round out underground hip hop with Talib Kweli and Common - both have been around for a while, and both have released albums with a more commercial bent in the past 12 months. Check out their old and new stuff - both has good qualities.

And while you may be a snobby underground music geek, you would be doing yourself a great disservice if you ignored all the great mainstream music that’s come out in the past 5 years. In hip hop, Eminem is incredible when he’s at his best, Jay-Z fully deserves all the hype and adoration he gets (listen to The Blueprint - if that’s not a classic, I don’t know what is) and Nas has recently got back into form. And the whole G Unit thing - you’ve got to cherry-pick from the singles there - you can’t rely on any of them to make a consistently good album, but if you did a mixtape of all the singles, it would be pretty damn fine.

Since you like Southern rappers like Goodie Mob and Cee-Lo, you should check Outkast, who are closely associated with both artists, and even better. Stankonia is the album to listen to here, although some claim Aquemini is the true masterpiece (I must admit, it does have the better single). T.I. is an interesting rising ATL star, although if your tastes don’t extend to less cerebral rap, then he may not be your thing. Oh, and Texas hip-hop became the next big thing this year, after Mike Jones released “Still Tippin’” (my single of the year so far). The great thing about Still Tippin’ is its usefulness as a primer for the Texas scene - not only does it have Paul Wall and Slim Thug (who are both better rappers than Jones), it also introduces us, via the hook, to the Texas practice of screwing and chopping. This is a DJ technique where the song is remixed by slowing the record down and “cutting” the sound up - it’s closely associated with the practice of sipping syrup - codeine-laced cough mixture. Other good Texas artists include Bun-B, Lil Keke, Z-Ro and on a good day Lil’ Flip.

Kanye West! We must not forget Kanye West! Rapper-producer extraordinaire, the self proclaimed “First nigga with a Benz and a backpack”. His whole schtick is using sped up soul samples combined with lyrics that waver between flossing and social consciousness. Has a new album coming out in August, but, don’t wait until then, go get “The College Dropout.” What does Kanye say? “They want the feeling of A Tribe Called Quest/ But all they got left is this guy called West”

And finally, there is even delightful pop to be found in the most unlikely of places. Gwen Stefani’s album has about 5 good tracks (download, I suggest), Kelly Clarkson’s Since U Been Gone is one of the best songs I’ve heard this century (I’m not kidding), Ciara seems incapable of doing a bad song, and if there’s one piece of pop deliciousness better than R. Kelly’s Ignition (Remix), then it’s Justin Timberlake’s Cry Me A River. I’m serious. Go listen to that song.

With chart pop, a good start is to keep an eye out for one of the big producers working on something - if it’s got a name like The Neptunes, Timbaland, Rich Harrison, Just Blaze, Kanye West, Dr. Dre or Lil’ Jon attached to it, it’s well worth checking out. Although really, good pop could turn up anywhere, in the unlikeliest of places. I love Kelly Clarkson’s new single for instance, even if it could have been released 20 years ago by Visage.

I think I’ll end this for now. Sorry if I’ve mentioned anything too obvious, but I was aiming at a reasonably complete primer. Also, I haven’t mentioned the Diplomats - the Dipset is Harlem’s most ridiculously fucked up hip hop crew around. They’re all about anthemic samples and chewing on words, rolling them back and forth over jackhammer beats like some sort of lyrical everlasting gobstopper until they’ve exhausted all the flavor, at which point they just move onto the next. They pretty much confine their subject matter to dealing crack, they’re prowess with women and their own awesomeness, but never has anyone dealt with these subjects with such an incredible mixture of impressionistic wordplay and ludicrous self-aggrandizement.

Hopefully you’ll find something you enjoy amongst the offerings I’ve presented here. I’m sure I’ve forgotten a million things (The Shins is one, Sufjan Stevens is another), but I can’t tell you everything, and hopefully this will be enough to get you back in the game one way or another.

Oh, and I just noted that I didn’t, per request, not the spelling. :slight_smile:

Grandaddy. Got it.

Oh, and holy crap, vtynos. Thanks. I’ll get back to you later with a more complete reply (I actually have some things to say about your suggestions, but have no time right now,) but thanks for all the hard work!

vtynos, what a great post. I wanted to add Uncle Tupelo to the list of great alt-country bands, as they are the seminal 90s country band and arguably invented alt-country; both Wilco and Son Volt were spinoffs.

I very much need to mention, Grandaddy’s earlier work Under the Western Freeway is fuckin’ brilliant. I believe every man, woman, and child should hear that particular album, as soon as possible.

Also, Bonnie Prince Billy, Will Oldham, Elliott Smith, Mercury Rev, are all great.

One way I found out about a bunch of great bands is that i joined the Sparklehorse yahoo list, then the Grandaddy list and started threads about “What else do you guys listen to?” That generated a great repsonse and I am still buying CDs based upon what listmates said in the late 90s.

Ogre, good luck and fun on your journey into some good shit!!

Be aware that Audioscrobbler has been having some database issues recently, so if you see anything really weird in the similarity charts, that’s a likely explanation.

I’ll post something in the next day or so. This sort of thing is always a little tough to write. Help me out, though: when did you drop out of the scene, and what were you fond of beforehand?

What vtynos said. I mean, holy crap! He named just about everyone on my list and about 2 dozen more that I’ll definitely be checking out.

Just to fill in a few holes in his otherwise amazingly extensive list:

Canadian Indie scene: The Unicorns definitely belong on the list along with Broken Social Scene and other Montreal low-fi indie acts. The Constantines of Guelph, ON rock harder than any act I’ve heard in years. Their live shows have become infamous for their intensity, ballsiness and sheer stamina. Think Bruce Springsteen meets punk rock. Also, try checking out Winnipeg’s The Weakerthan’s for a more poppy sound. And I just want to second the recommendation of Godspeed You! Black Emporer, atmospheric space-rock at its finest.

Alt Country: I’m shocked that a man can name The New Pornographers and not give alt-country queen Neko Case her due. I’m desperately in love with this woman and consider it a travesty of justice that I’ve never been able to see her live. I also highly recommend her occasional backing band The Sadies a psychedelic country/surf rock band out of Toronto. Another country/folk/rock band that deserves a listen are The Jayhawks.

Tom Waits, jazz, etc.: Any Tom Waits fan should check out the solo work of his guitarist Marc Ribot. He’s incredibly versatile and has recorded in a number of different genres including rock, blues, jazz, punk and soundtrack music. His Los Cubanos Postizos is an excellent album of latin music and a personal favourite. And if you like Marc Ribot, you should also check out John Zorn, another very eclectic jazz musicion who’s dabbled in avant-garde jazz, klezmer, chamber music and, most interestingly, the free jazz/harcore punk project Naked City. Bill Frisell is another worthwhile Zorn collaborator. Another group who’ve recorded with both Tom Waits and Bill Frisell is Tin Hat Trio. They’re a chamber jazz outfit with folk, country and blues influences. I don’t think I’ve ever heard anything quite like them, quirky, trippy, playful and just plain odd.

That’s all I can think of for now. I’m sure something else wil come to mind as soon as I hit the reply button.

OK. Sorry for the delay.

Oh I knew that, of course. While it is true that I have occasionally been in a cave, I haven’t been living in one. :slight_smile:

Ah, memories. I once drank myself to insensibility with Joey Ramone and Frank Black. Somewhere in there, they wanted to hear a demo record my band at the time had just done. I gave them each a copy, which I, of course, never heard from again. We were awful.

Not to worry. I love Family Guy.

Again, not living in a cave. I must say that while I was introduced to Built To Spill, they never really appealed to me. I was aware of them (and Death Cab, and Modest Mouse,) but nobody from that scene really turns me on.

I have at least heard of all these folks, but I was really unaware that they were scions of an active Canadian scene, or that there even was an active Canadian scene. I’ve not listened to them, however. Will check them out.

I know these bands quite well. I like the White Stripes (probably ultimately because they are such big fans of obscure blues and country music. The kinship between that stuff and modern punkish/underground music seems self-evident to me, and I like seeing modern artists who know they have a debt to the past in that respect. The Strokes…eh…not so much. They seem to fall victim way too much to the recent (and regrettable, IMO) throwback to the British Invasion sound. They seem really faddy, and ultimately, forgettable.

Never heard of any of these. Will investigate.

Ah, thanks for the definition. I listened to Fugazi and Jawbreaker, of course. I also remember Sunny Day Real Estate’s first album. I had seen them live, was utterly blown away, and bought the record. Bleah. It was as if all the life had been drained out of their live performance. I never really followed them after that.

Yup. I know Wilco rather well. “Summer Teeth” and “YHF” are both excellent albums. Heavy-rotation in my house. I never could get into Uncle Tupelo, and I was always irritated that everyone worshipped at their feet as the inventors of alt-country. They, simply put, were not. Steve Earle predates them, and Jason and the Scorchers, who never get enough credit, predate everybody in that scene, with the exception of the ultimate alt-country guru, Johnny Freaking Cash.

Yup. I’ve followed them since Transmissions From the Satellite Heart. They became Beck’s tour band, which always struck me as pretty appropriate, actually.

Cave. Not living in. Remember? :slight_smile:

Yup. Heard this too. My fiancee likes it a lot more than I do, but it’s cool.

Oh, of course I know Outkast. I’ve followed them since Andre was sounding like just another pimp-wannabe ATL thug. LOVE their music…although I really think Goodie MOB’s “Soul Food” will stand as the all-time ATL-rap masterpiece.

Now, this is interesting. I’ve not heard of any of this.

I’ve heard most of this. Bleagh. No offense intended.

This sounds appealing as well.

Jesus, man! Thanks so much for the suggestions and the primer! I have tons to check out now.

Ah, I dropped out many long years ago. It’s been so long that I don’t even remember much about the scene. I used to dig QOTSA’s ancestor, Kyuss a lot. I hung out with Josh Homme a time or two. I used to like some artsy metal like Voivod (who were appealing because they were so relatively obscure for such a long time.) Errr…“South of Heaven” and “Seasons In the Abyss” -era Slayer. Early (pre “And Justice…”) Metallica was great. I also got into the whole Stoner Rock genre for a while (Nebula, Goatsnake, etc.,) but it was ultimately unsatisfying and really trite.

Yep. I know Ribot and Zorn very well. Been listening to their stuff for years. I just recently finished working my way through Ribot’s back-catalog. I’ve heard of the Tin Hat Trio, but I don’t really know them. Thanks for the tip.

Thanks again, all! I really appreciate it. Any other suggestions are very welcome…and if you’re interested in old blues, country, or jazz, let me know. I have a thousand recommendations!

It sounds like you dropped out of the scene in the early to mid-90s, probably right around the time of the black album. Up until then, the metal scene was pretty homogeneous, but over the course of the last 10 or so years there’s been a veritable explosion of new styles. In particular, the last six or so years have seen a strong association between the underground metal and avant-garde scenes. I’m at work right now and can’t write much, but I’ll post more when I get home.

No love for my metal suggestion of Mastodon? It is good stuff!! :slight_smile:

Or, for that matter - Musicplasma.com? Very cool.

Yeah, I endorse Mastodon. I’m just waiting until I’ve got a historical context laid out before I start mentioning specific bands.

Sorry, man. I’ll definitely check them out. I never could get Musicplasma to load. I’ll try again.

How about underground, obscure, unknown, unhearalded, un/under-appreciated, excellent female singer/songwriter/musicians?

Start with Happy Rhodes, and DON’T judge her by her name without hearing a good sampling of her music. At the very least, please listen to every one of the Many Worlds Are Born Tonight tracks there.

There is too much good music. In order to be happy, I have had to accept that I cannot hear all of the good music out there, or not even a substantive fraction of it. That said, I still buy and listen to an enormous amount of music. I just repeat the mantra, “There is too much good music” and then I can be happy and still surprised to first hear groups that people have been listening to for years without shame.

So here’s my recommendations, based on “The Sophtware Slump.”
Neutral Milk Hotel – “In The Aeroplane Over The Sea”
Yo La Tengo – “Electr-O-Pura” and “I Can Hear the Heart Beating As One”
Luna – “Rendezvous”
You may have heard of these three groups simply cause they have been out there a while but (especially Yo La Tengo). And they predated the Grandaddy/Flaming Lips sound a bit (although Rendezvous is Luna’s newer one.) But again, there is too much good music. Luna comes from Galaxie 500, Dean Wareham’s old band, one of the classic shoegazer bands of the 80s. They don’t shoegaze anymore. Yo La Tengo is a first wave indie (one of the Matador core bands) band. Neutral Milk Hotel is one of the founders of the Elephant 6 collective.

A few more people haven’t and have recommended
The Decemberists – “Picaresque” is their new one but “Castaways and Cutouts” is great too.
Of Montreal – “The Sunlandic Twins”, ultra poppy Elephant 6 band
Badly Drawn Boy – “Hour of the Bewilderbeest” which is one of the most beautiful albums made, ever.

There’s also this whole burgeoning European indie set, besides the whole British 80s retro resurgence coming on strong now. They can’t be lumped together but they are making some very interesting music – M83, Phoenix, The Concretes, The Shout Out Louds, The Raveonettes. Also the Icelandic group Sigur Ros has made some of the most beautiful aethereal, nearly ambient pop recently – check out their first widely available one, “Agaetis Byrjun.”