Today we've done something a little different, and have brought a bit of a mélange of musical fun to the table today. On the docket: the recent passing of jazz legend Cecil Taylor, Scott's recent experiences at a Leprous/Dear Hunter/Between the Buried and Me concert, The Weeknd's new EP My Dear Melancholy, and the amazing 1979 debut Buy from no-wave band James Chance & the Contortions.

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While Iron Maiden is indesputably one of the kings of heavy metal, their seventh album often among their most underrated (in our opinion). Today, however, that changes, as we discuss Seventh Son of A Seventh Son, which, amazingly, turns 30 this month.

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Massive Attack had already made a name for themselves with their excellent debut Blue Lines, but who knew only a few years later they'd (arguably) outdo themselves with one of the most interesting electronic albums ever created? Join as we talk about Massive Attack, and this (now) twenty-year-old masterpiece.

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It took like, what, twenty or so episodes, but we finally have our first guest: Andrew Hatch of Heavy Blog Is Heavy. Tune in as we talk about, among other things, metal nostalgia, the end of Warped Tour, and celebrity role models.

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Listen (and Rate) Us On iTunes:

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We get super picky this week and ask ourselves: what would we like to see change in the music industry at large? Although nothing will deter us from our love for music, there are definitely a few things that stick in our respective craws.

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Listen (and Rate) Us On iTunes:

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Today we cover one of Scott's favorite bands (possibly his favorite band), The Smiths—a band that, despite only being active for five years, has proven over and over again to be one of the most influential indie music acts in history. This time, however, we're not doing a simple album-by-album retrospective; instead we're discussing the band as a whole, and its influence and sound, while every so often dipping into albums or songs.

Today's episode is partially in thanks to Tony Fletcher and his wonderful Smiths biography A Light That Never Goes Out. If you're a Smiths fan, we highly suggest buying this book.

March—to our best knowledge—marks 45 years since the release of Herbie Hancock's album Sextant. While it perhaps isn't the most well-known Hancock album out there (which we do mention), it's nonetheless an avant-jazz milestone, and one of our personal favorite albums ever.

 

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Hey, what’s this? It’s a new TGP feature! Welcome to Crash Course, where we…well…do a crash course of a genre! We provide a little historical context, and then recommend some albums that are great to start with. Today’s Crash Course, obviously, covers post-hardcore.

Our recommended albums:

Fugazi—Repeater (1990, Dischord)

The Jesus Lizard—Liar (1992, Touch and Go)

Drive Like Jehu—Yank Crime (1994, Interscope/Headhunter/Swami)

Refused—The Shape of Punk to Come (1998, Burning Heart)

At The Drive-In—Relationship of Command (2000, Grand Royal/Fearless)

For Further Listening:

Big Black—Atomizer (1986, Homestead)

Frodus—And We Washed Our Weapons In The Sea (2001, Fueled By Ramen)

Hüsker Dü—Zen Arcade (1984, SST)

NoMeansNo—Wrong (1989, Alternative Tentacles)

Slint—Spiderland (1991, Touch and Go)

Unwound—Leaves Turn Inside You (2001, Kill Rock Stars)

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After listening to so much music, the realization inevitably sprouts: there is no way one will ever listen to all the music in the world. And sometimes you just can't find anything you want to listen to. So how are you supposed to make sense of that? We talk about this and more in this episode of Torture Garden.

Also: this talk was inspired by Oliver from the YouTube channel Deep Cuts—go check out his amazing work, talking about all sorts of genres of music: https://www.youtube.com/channel/UCRYhCg0DHloE9gn-PAiAYNg

February 2018 happens to marks the 60th anniversary of Blue Train: John Coltrane's breakout album. While perhaps not as well remembered as his later works like A Love Supreme, Blue Train is a hard bop masterpiece, a showcase of Coltrane's nascent virtuosity as a horn player (as well as the other members of the lineup, including, but not limited to, trumpeter Lee Morgan and bassist Paul Chambers), and Coltrane's only recording for Blue Note as a bandleader.