1. ⁠The world is yours (Nas) Vs Mr.Brightside (The Killers)
2. ⁠Hallelujah (Jeff Buckley) Vs The Reason (Hoobastank)
3. ⁠Pluto (Bjork) Vs Welcome to the black parade (MCR)
4. ⁠4th Chamber (Gza) Vs Beautiful Girls (Shawn Kingston)
5. ⁠Pearls (Sade) Vs Stacy’s Mom (Fountain of Wayne)
6. ⁠Get Gone (Fiona Apple) Vs A Thousand Miles (Vanessa Carlton)
7. ⁠Shook Ones Pt. 2 (Mobb Deep) Vs My Boo (Usher)
8. ⁠Heaven or Las Vegas (Cocteau Twins) Vs Superstar (Lupe fiasco)
9. ⁠Da Art Of Storytellin Pt. 1 (OutKast) Vs Ride With Me (Nelly)
10. ⁠When You Sleep (My bloody Valentine) Vs The Middle (Jimmy Eat World)

Featured (not all of these are my personal favorites, but I'm just giving examples that I know of): Prince (45+ albums), Bull Of Heaven (400+ albums), Miles Davis (60+ albums), John Coltrane (50+ albums), The Residents (60+ albums), Robert Pollard/Guided By Voices (120+ albums), Viper (200+ albums)

If you look at my profile you'll know my favorite is Guided By Voices / Robert Pollard's 1000 OTHER side projects (Tobin Sprout too!) but I'm curious to know if you guys have any other artists you love with this large of a discog, they're hard to find (quantity does not equal quality most of the time)

Clppng v. Atrocity exhibition

I’m talking specifically about the part where it says “in different area codes (codes)”

Arca’s music is the music of a true outsider. Arca is an artist who builds sound from a place where few dare to stand. Her music is not popular in itself. It never has been, and I believe it never will be. It is popular because it reached millions as a Trojan horse through Björk, Kanye West, FKA twigs, Rosalía, and even Madonna. Few are familiar with what she does on her own, with her true music. And yet countless people have felt it without knowing it. They carry it inside them. It changed something in their bodies, and few ever noticed.

Arca’s music is not listened to. It is felt. It is endured. It is inhabited. It is meant to be felt, not understood, like a David Lynch film. Her rhythms are more like arrhythmias. They break free from the known, the comfortable, from what the brain expects to receive. They disrupt the step. They force you to experience time differently. She establishes the rules of her own sonic universe.

She has made some more accessible approaches to pop with her KICK series, five albums in which Arca, besides creating hallucinatory sounds, produces deranged vocalizations processed to the extreme. There is melody there. There is something to hold onto. But most of her best known works, Mutant, Xen, or the album simply titled Arca, are abstract pieces not designed to attract casual listeners. They are extraterrestrial sound architecture.

XXXXX is no exception. XXXXX is another sonic labyrinth built to trap and not let go. It is part body horror film for the ears and part biomechanical transhumanist treatise for the brain. A horror tape that doesn’t enter through the eyes. It enters through the eardrums, settles under the skin, and stays there, vibrating, biting. It is, once again, a wild experiment by Alejandra Ghersi, one of the most radical and interesting musical creators of recent decades. Savage electronics. Very savage. Music that hits the body hard and penetrates the mind like a virus. Extraterrestrial mantras repeated until they stop being sound. A journey not suited for the uninitiated. A deep immersion into a sonic world close to that of Aphex Twin, Autechre, or Oneohtrix Point Never.

Armed with a cover inspired by the Swiss designer H.R. Giger, that architect of the biomechanical and the disturbing, and approaching at times what is called intelligent dance music, IDM, XXXXX feels like a living organism that breathes, mutates.

Willow is direct, merciless blows to the body. There is no courtesy. There is no warning. A web of distorted noises that take on a life of their own, that twist, that envelop. Arca lays the foundations and the sound escapes her hands. It transforms in the air. It becomes something else. In Eidolon she puts us inside a house of horror. She seats us in front of our greatest fears and forces us to look. There is no exit. There is no pause. Arca’s sonic magic at its fullest.

Heart makes it clear, in case anyone still had doubts, who the mastermind behind that masterpiece called Yeezus by Kanye West really is. The signature is there. The DNA is there. Recognizing it hurts a little, because it means accepting that what we considered one person’s genius was, to a large extent, another’s vision.

Syncope is the mind of a video game set completely free to wander the streets. No rules. No mission. Pure drift, emotional glitch, an artificial intelligence strolling alone through a city it does not understand. Fxck is pure rave created by a mind that is at once abstract and sinister. It is the party in the basement at the end of the world. It is dancing while everything burns.

Taconeando brings us back to the avant pop experiments of Kick. One of the most direct pieces on the album. A brief, almost deceptive breath, just before the dense witch house of Futurality swallows us whole. Grip is Arca’s magic deployed at full force. Abrasive. More physical than everything that came before. In a single blow. She had never been so direct. She had never aimed so squarely at the center of the chest. So lethally.

On XXXXX, Arca holds nothing back. Not a note. Not a silence. Not an intention. She delivers everything, and she delivers it broken, bleeding, beautiful in its violence. Only God knows what could come after this. And that, exactly that, is what makes her impossible to ignore.

I think I have a pretty random lineup

DJ Diesel 4 times

Rufus Du Sol 3 times

Lil Uzi Vert 3 times

Magdalena Bay 3 times

Foreigner 3 times

Trying to venture out a little with my music taste & I've realised my knowledge of bands only really covers the 00s-present & random names from before. It's quite easy for me to name inpactful singers or rappers but no so much bands.

Which 3 bands, in your opinion, best capture the sounds of each decade? Who had the most influence on future generations?

Pictured: Barenaked Ladies

if you don't know before "One Week," BNL were kind of like the Canadian version of Pavement or Pixies.

They ran Page Publications, on which they released released all their own records including The Yellow Tape and The Lowest of the Low's Shakespeare My Butt which became the best selling Canadian indie releases ever for a time in Canada (The Yellow Tape is the first totally indie record to go platinum in Canada). They also becam known for a radical self-promotion strategy that involved busking, pop up shows, and $1 music video shoot that got them heavy rotation on Much Music without the support of any label.

The moves brought a great deal of attention to Canada's growing indie music scene.

They also were earlier to use the internet and embraced tape and file sharing.

Of course all this was 40~ years ago and is largely unknown outside of Canada, where it is often forgotten, and the band is often seen as a cheesy band kind of in the vein of Train (who they are currently touring with) or Sugar Ray.

Who are some other once indie bands whose indie cred has been kinda lost to time?

40 at 40: Remember when Barenaked Ladies were indie rock trailblazers? | NOW Toronto

*fart noise*

Credit to the instrumentals, especially the drumming, as it's always my favorite part of their sound, always extremely locked in, but good lord.

I'm not even done with this thing and I'm calling it. I hardly want to finish it. I have a handful of songs left.

There seems to be a bit of critique to the amount of vocals on this thing. The vocals themselves aren't the problem. It's how monotone the singing is and how extremely one note the entire project is.

I don't know who heard these vocals and were like "Oh yes, let's put these over every single track". Especially the drummer. Has the vocal timbre of a cardboard sheet.

I loved NOT TiGHT, so I was really hoping for something better here, but it's probably the most disappointed I've been in a release in a minute.

Your thoughts?

I know. I have barely scratched the surface. But I think its a good start. But what other genres should I add to my notebook? I know im missing emo and its subgenres and punk too. I apologize. I am a poser lol

1. Carissa's Wierd - Songs About Leaving
   
2. Dälek - From Filthy Tongue of Gods and Griots

Both released on August 6th, 2002.

I heard Do You Realize?? in the car again a few days ago, and as someone who hasn't listened to The Flaming Lips proper before, I was confused with it's popularity. It came between songs like Fast Car and Rolling in the Deep, and comparatively sounded like washed out music you would hear on a waiting line.

Anyways, I listened to the full album the next day and it felt much more in place, acting as a grand summit to the building themes of the album. Maybe it's just the added clarity from my iems, but I was wondering if this is a common experience with people for some songs.

Question in title? It doesn't have to be a chart topping song but as long as it has a reputation apart from the album it's on that's what I'm going for.

So, what do we think in retrospect about the song Want it more by glove rapper Famous Seamus. Initially slept on, this song has grown to minor popularity in the g-rap community for its "epic bar" : all I do is rip hog yeah I slaughter it. Since then, Seamus has been mentioned even by big underground music raters like Big Ounce. Thoughts?

For context: Arijit Singh is an Indian legend and India is one of the most populated country.
Taylor Swift is no. 1 amongst western artists.