putting a number of these in proper order was hard, but with 6 points… next up! my boyee Lacazette with Fuckin’ with my Head(Mountain Dew Rock) by Beck.
I dug the track ‘Loser,’ and the immediately apparent authenticity with an artist like Beck, but was never inspired to really know more. This track is from the same album, and basically is not good.
It takes 2 standard blues-type riffs and butchers what is already a dead horse ( see any blues riff that’s been parroted innumerable times without innovating upon it.) In the middle of the song, there is some break that incorporates this annoying buzz of like TV white noise. No thanks.
Also, there’s a brief melodic passage that’s used twice or thrice throughout the song, and if it’s not plagiarized, it’s clearly derivative of something else – and like an out-of-place offering in the song to include a required element.
with 7 points seities and So Much for Love by Gramatik
After that bass drops 9 seconds into the song, my post-defecation euphoria quickly fades, because the rest of the song is very 1-idea. Credit, though, for pinpointing the frequency at which an audience will shit itself. The lovable goofball Neil of Real-World-London fame had long sought that intellectual property.
8 points to the Goat. My mentor, my comrade… of Captain, my Capitan
just whisper jalfrezi
jalfrezi with When Big Joan Sets Up by Captain Beefheart
This is goofy shit times 10, Circus Maximus
The final presentation is the hardwork of many fine musicians, I am to understand, and I agree. They were committed to doing something unique and ‘out,’ and for that I salute them. Discovering the mysterious intent of experimental musicians is something to do. I would not listen to this while working, as I like to sing and dance and solder copper in that space.
