Sigur Ros – Kveikur

Sigur Ros is a very special band to me. Many of their songs and albums are on my all time top lists. Normally, they take their time between releases, with the gap between their previous two album being 4 years long. Holding to this pattern, I was genuinely surprised when I heard that they were going to be releasing a new album, just a year after their underrated masterpiece “Valtari”. They announced that they lost a member and were working on a something different and more focused. Being that I tend to gravitate to their more ambient, ethereal releases, with ( ) being my favorite album of theirs, I was a little bit nervous.  When I saw that only one song broke the 7 minute mark, I became more nervous. Not to say I dislike anything this band has done, but I would prefer endless, hazy, dreamscapes over “Með suð í eyrum við spilum endalaust” any day. My first listen through of Brennisteinn regained my hope. It was dark. It was intense. It was different, but good. I had hope that the rest of the album would live up to the greatness of the single, and in many ways it did. With Kveikur, Sigur Ros has released their heaviest, darkest, and most structured release to date. But, does it stand up to the rest of their catalog?


Throughout the entire album, there is a heaviness and a darkness that finds itself in all sorts of unconventional places. A heaviness that resides in clattering cymbals and, rough distorted bass. A darkness that reverberates inside of soaring, pained bowed guitar licks and overloaded vocals. Songs like Brennisteinn and the title track Kveikur are by far the best examples of this new and unique take on heavy. It still shows its face in the lighter and more positive songs as well. This new sound is nothing short of incredible. It stands out from their long and impressive collection of music as something new and necessary, while still connecting to their legacy. One of the songs that best shows this combination of innovation and legacy is the song Hrafntinna. It has the clattering and harsh cymbals and floating background dissonance of their darkest moments on this album, yet it also has that heartmelting beauty that Sigur Ros is well-known for. As it builds you feel connected with each haunting line until it finally reaches its peak and you are flooded with a rush of sound and emotion that you immediately connect with on a very intimate and primal level. This album is everything I want out of a more focused and structured Sigur Ros release. From start to finish, Sigur Ros has made one of their finest albums to date. It does not hold the emotional weight of ( ) of Valtari, but in comparison to their other more structured albums, this is by far the best because of its ability to capture some of the emotion of those more sprawling releases, and fit it inside of these more typical and concise song structures.

DOES IT SUCK? No. Sigur Ros is on the top of their game with this new, dark, and emotional album.


The Postal Service Live

I had mixed feelings, heading into the Rose Quarter yesterday night. I didn’t really know if the venue had decent sound (My only other experience there was for Yo Gabba Gabba! Live), I wasn’t sure if our tickets were any good, and honestly, I was not confident that The Postal Service would put on a good show. I saw some videos before hand, of their performances ten years ago, and they were lacking at best. I don’t really blame anyone involved in the band because there music does not seem suited for live performance. The abundance of programming and sampling is something that does not normally compute well to a live stage, unless you are looking to watch a guy stare at his laptop for two hours. I decided to go into it with no expectations. That way, anything would (hopefully) be a pleasant surprise. Before I get into whether or not The Postal Service managed to make their chill indietronic love songs work on the stage, I have to address the opening act: Big Freedia.

That is Big Freedia. Big Freedia is a rap artist (who happens to be gay) from New Orleans and is at the forefront of the Bounce rap movement or, at least that is what her website states. To clarify, Big Freedia is a gay man who performs as a female persona. I did not know any of this going into the show. I knew, about 30 seconds before I walked into the stadium, that someone with a shirt that said “BIG FREE DIA” was going to be the opener. We sat down as this “BIG FREE DIA” was starting what I thought was HIS first song. There was a single rapper on stage with a dj behind him, and three booty-licious ladies standing on stage as well. Throughout the entire first song (and the rest of the show for that matter) these ladies did nothing but “twerk”. As the second song started, I was deeply confused. In that current circumstance, this was a bad, repetitive and super misogynistic rapper. My friends with smart phones that were not dead started to look up details on this horrible first act. This is when I started to get confused. We found out that Big Freedia is a gay man who plays music as a woman, but doesn’t really dress in drag. We found out that this music is meant to be repetitive and has but one purpose, to get that AZZ on the floor. Now, let me say this: One youtube video is entertaining, in a car accident/bad movie sort of way. I can laugh at how bad it is. But, when forced to sit through 11 songs, with the same beats, the same words, and the same asinine vocal sampling, you start to genuinely wonder why this is the opening act for a Postal Service Show. Even as I am now more educated on the roots and purpose of this artist and musical style, I am still unable to figure out why people would think of this as anything other than a one time, laugh at the ridiculousness of it and be done sort of thing. At the absolute best, its basic novelty. I can not wrap my head around this music. I try, really hard to at least understand why music I personally don’t enjoy exists. Even if it’s not my cup of tea, I want to get why other people like it. Big Freedia stumps me. The lyrics are horribly sexist and at times very rapey: “I got that gin in my system, somebody gon be my victim!”. That is one of the longest lines in the entire Big Freedia catalog. Most of the time its one word on hyper roll repeat, the worst of which being a song where it seems like the only lyrics are “pop that” and then “pussy” about a thousand times over. It just strikes me as odd that someone doing a weird type of drag show would be performing a style of rap that intensifies all of the worst social qualities of rap. For the best of my knowledge, it does not seem sardonic or satirical. I just don’t get it. The music isn’t interesting, the beats are identical between songs, and the vocal sampling is overdone and annoying. Not only does Big Freedia suck, but her live show sucks worse. It gets an extra badge of suck for being the opening act for a band like The Postal Service.

The Postal Service, on the other hand, was a very different story. Their show was very polished, from the music to the light show and everything in between. Their stage setup was incredible. Each person had a station with some acoustic and natural instruments and some triggers. There were these pillars of lights that would flash all sorts of cool patterns and videos, instead of traditional screens. They then had lights that shown through the gaps between the pillars. The whole experience looked great, and each unique light show fit the tone and feel of the individual songs. The addition of the two female singers/musicians added some nice texture with vibraphone, Rhodes pianos and more. Ben Gibbard spent much of the night behind an electric guitar, but every once in a while would jump behind a drum set on the other side of the stage. At first I felt like this was arbitrary and gimmicky, but after a few songs, it started to seem more purposeful and needed. It gave the songs that needed it the most some added energy. The weirdest thing about Bens show was his stage presence when he was not holding an instrument. He is not used to being just a singer, and never seemed to know what to do with his body. Jimmy Tamborello kept the beats going, and added some surprising and welcomed melodica and vocoder to the mix. It was way more than two guys and a laptop. The show was an experience. It had some sound issues, and some of the songs did not work out as well as others, but all in all it was a great show, which far surpassed my expectations. Their new songs stood out from the classic songs and had much more influence from EDM, but having a 10 year break will explain that. They played all of the fan favorites, and even a cover or two, even though I did not know what songs they were covering. My personal favorite moment was their last song, “Brand New Colony” which ended the night in a wonderful, upbeat, and energetic way. I do wish I had seen them in a festival setting, as opposed to a partially filled auditorium, just because I feel like the show would have gone from better than expected to great with the addition of a great audience that was dancing along.


Fall out at the Disco! (My thoughts on the new PATD Single “Miss Jackson”)

I got this post card in the mail. It had no message, no return address. It was a mock-up of the Vegas sign, with the words “Are you nasty?” on it. I laughed and the ridiculousness of this anonymous post card. When I showed it to my wife, she decided to look up online to see if other people got a similar post card. Our research brought us to the new Panic at the Disco! single, Miss Jackson. From the very beginning of this video, I started to notice some similarities to another band, often compared to PATD, who just released a new album.

So, we start this new song with a scene of a flaming tire rolling through a motel in the middle of the night. That’s weird, I remember another video that starts with a dark scene involving fire as a main theme. The music kicks in, and there are some big things that stand out to me. The obvious change in their sound, influenced by modern pop and rap music, a hook that is largely based on a wordless vocal line, and the overt use of repetition in the chorus. It is all sounding very familiar. As the song continues, I notice that even the composition of this song is turning out a lot like another song. The use of a two-part repeating chorus, based partially on the pre-chorus, the breakdowns and use of vocal parts to bridge between the two parts, and the odd stops and starts all bring me back to another song. What song, you ask? This song:

Dark setting, fire imagery. Beat driven song with a wordless vocal hook. Forms that could fit right inside of each other. I practically expect Miss Jackson to break down into “Light it up up up” at every break.  If you watch some of the other new Fall Out Boy videos, you see more similarities like the overtly dark imagery and singers wearing suit(ish) outfits. Now, even though these songs have very obvious similarities, I want to note a few things.

1. Panic at the Disco! has always had a dance background to their music, much more than Fall Out Boy. This style of dance music is different, but it makes more sense for them to go in this direction.

2. Panic at the Disco! is now a two piece band. This means that I can excuse some of the production involved, because they are only two guys. There is more room in their sound for this kind of production.

3. This song is more interesting that “My Songs Know What You Did in the Dark”. Whether directly influenced or not, PATD are doing what FOB did, but better. The song flows better, the lyrics are more interesting (minus “are you nasty?” over and over…). The melodies are at least slightly more varied. It’s just a better song all over. The arrangement and choice of sounds is more varied and fun.

Even though it reminds me of FOB’s latest train wreck a lot, I still have hopes that the new Panic at the Disco! album “Too Weird to Live, Too Rare to Die!” (I love all the connections to Hunter S. Thompson, in both the album title and the video) I really feel like they are better suited to handle this type of style change while still maintaining the things that make them interesting. This single is not too far off from the sound off their debut release, which I still love. It’s just more modern, which, if done right, is not always a bad thing. I really hope that PATD can pull it off, at least better than FOB did.

The World Is A Beautiful Place & I Am No Longer Afraid To Die – Whenever, If Ever

Are you the kind of person who cringes at someone labeling bands like Panic at the Disco and My Chemical Romance as emo? Do you connect that word to the roots of the genre with bands like Mineral and Sunny Day Real Estate? Well then “The World Is a Beautiful Place & I am No Longer Afraid To Die” may be just right for you. Recently signed to Topshelf Records, this six piece bands debut album “Whenever, If Ever” is being labeled as a seminal member of a new wave of emo bands. Now, there are some parts of classic emo music that I love, and there are some parts that I can not stand. How does this band line up? I guess you will just have to keep reading to find out.


I love this bands choice of instrumentation. They keep the staples of the genre (delicate guitar arpeggios, fast strummed chords, bass and drums) but they also have extensive use of cello, trumpets, and synths that add so much to their sound. The beautiful cello on the first track was nice, but it really impressed me when it returned on the second song, and then continued to show itself throughout the album. These added instruments feel cohesive with the music, unlike many bands who try to include instruments like this, only to have them sound like a production choice, instead of an active part of the music. I also love the use of piano on the song “Picture Of a Tree That Doesnt Look Okay” and going into “You Will Never Go To Space”. Again it comes across as belonging in the ensemble, and not some kind of weird guest sound added afterwards by a producer. The vocals are obviously emotional. When singing, there are those moments of emotional pitch variance that can detract from the sound, but not on this album at all. There is yelling, but its refined and goes exactly where it should. They did a good job of making the vocals composed enough to not detract from the music, yet still passionate enough to capture the emotion that belongs in this genre. At times it reminds me of a more subdued, less crazy Isaac Brock. The music, in turn, also brings me back to the earlier days of Modest Mouse, with the emotional builds of Sunny Day Real Estate, and maybe a bit of even Say Anything (at least in the faster parts).

The thing that really sticks with this album is its ability to be cohesive as an album, yet not get boring or drag on. Many emo bands, at least for me, tend to get repetitive and dull by the end of the album. Maybe its just me, but the chords and whined/yelled vocals start to meld together, and you just get lost. But Whenever, If Ever keeps my attention going the whole way through. Perhaps its their choice of instrumentation working for them again, or maybe its the vast array of compositional forms, varying from slow builds to short fast songs to more subdued songwriting, similar to older Death Cab For Cutie.  Either way, the album does a good job of making you want to keep listening to it. It also has a wonderful cohesive nature to it. The album flows so well. There are very few breaks in between songs and every song gives off an insistence to its place on the album.

Highlights on this album include the third and fourth songs, mentioned earlier which are so connected, you don’t realize it changed songs. The gang vocals come in at the right times, and the piano provides a nice, ongoing bass for the other instruments to pull riffs over as this collection of songs builds up and down. Another star of the album is the second to last track “Low Light Assembly” one of the more quiet songs on the album, its quiet beauty is a nice change from other songs that start quiet, but end up inevitably building. The occasional feedback builds suggest a louder break, but it never comes and it keeps you waiting until the final, seven minute song comes in. “Getting Sodas”, the final song on the album is another highlight, which includes a near 4 minute post-rock style build at the end, that builds, but never breaks out, only reaches its peak and ends, which I feel works so well. Anyone can build and then go crazy at the top, but it takes something special to hit that point, and come right down, and yet still leave you, the listener satisfied.

This album is quickly becoming one of my favorite new discoveries of this year, and may end up on my top list for 2013. It has all the best qualities of indie and emo music from the 90s, with its own unique instrumentation and sound. My only complaint: It is too short. 35 minutes is just not quite long enough for an album, and I feel like they could have easily added some more material without padding the album. That being said, nothing on this album does not belong, and the flow of the album is so perfect, perhaps I should just be happy with 35 minutes of incredible music.

DOES IT SUCK? Absolutely not. It may end up being one of my favorites of the year.

Relient K – Collapsible Lung

I have been listening to Relient K for a good long while. When I first found myself going to youth group, their cheeky pop punk church friendly anthems were just what I needed. As I grew older, so did they, and their music continued to speak to me in a powerful way. Albums like Mmhmmm and “Five Score and Seven Years Ago” are albums that I still go back to on a regular basis. Those albums showed that Relient K was capable of maturing and changing into something more than just a pop-punk novelty. They gave their lyrics a more suited musical stage to stand on, and showed that they could do serious just as well as they could do silly. Unfortunately, I feel they got a bit stuck. “Forget and Not Slow Down” was somewhat of a disappointment for me, due to plain fact that at least three of the songs sounded so much like previous material, I had to go back and check to make sure they were in fact different. It was starting to get formulaic. So, with their newest album, “Collapsible Lung” I was ready to welcome in a change and at least for a few songs on this album, I feel like the changes that were made were awesome. Unfortunately, those songs only make up 3 of the 11 tracks contained on this overall underwhelming album.


The album starts with the hopeful “Don’t Blink”. This song takes me to bands like Third Eye Blind, which is not necessarily a bad thing for me. It’s a new sound for Relient K that fits really well into their progression as a band. When Matt Theissen stated that this new album as a “pop album” I got scared. Would this be “Save Rock and Roll” all over again? Don’t Blink made me hopeful that Relient K would not fall into those same patterns. Unfortunately, it’s the only song on the album that has that sound. The next six songs are a train wreck. If I didn’t know what album I was listening to, I could not tell you that Relient K wrote any of these songs. The vocal processing is so overdone, its hard to tell that Matt Theissen is singing. Boomerang, the second song is somewhat bearable. It’s not good, by any means, but I can listen to it without feeling disappointed.  Lost Boy sounds like it was off of a Katy Perry album. Its homogenized, methodical, pop nonsense.  If I Could Take You Home and Gloria are both completely forgettable. Can’t Complain has a little bit of cheeky lyricism to remind the listener of their earlier work, but it’s so drowned in their desire to be Jason Mraz that it’s completely lost. And PTL (or Part Time Lover) is just insulting to anyone who has ever listened to Relient K in the past. Everything about this song just oozes with everything wrong with pop music. Shallow lyrics, a complete lack of dynamics, and a level of production that strips away all integrity that might have existed.

Thankfully, for at least two songs, the album rallies. Disaster and When You Were My Baby remind me that I am in fact listening to Relient K. The lyrics are still disappointing, but the instrumentation and arrangements are more akin to what I would expect out of this band. Disaster has an air of the pop orchestration that made Deathbed such a great song. The rally does not last, and Relient K ends the album with the most disappointing ballad the band has ever made and an underwhelming final song that never builds to its fullest potential and leaves you wanting more. Sweetness, the disappointing ballad, is especially saddening for me, because even on their earlier albums, the ballads were always where they stopped being silly and goofy, and had a moment of depth. This song continues the trend of bad, shallow lyrics that seems to plague this entire album.  I think more than anything, the lack of lyrical depth is the most disappointing part of this album. Every song seems to be about the same thing, some more over (PTL) some more subdued (Don’t Blink). Even putting the shallow subject matter of sleeping around and failed relationships aside, the lyrics lack subtlety or depth at all.

All in all, this album was extremely disappointing. The three songs I like give me hope that maybe their future releases will have more to love, but as far as this album is concerned, I will not be returning to the majority of it anytime soon.

DOES IT SUCK? It hurts me to say it, but yeah. It Sucks. The three decent songs do not hold enough weight to keep it from not sucking.

Fall Out Boy – Save Rock and Roll

Fall Out Boy. I have always enjoyed your angsty teen anthems. Then you let Patrick Stump go and do his own thing, and it blew my mind. Seriously, Soul Punk may be one of my all time favorite albums. So, when a band I always enjoyed got back together after their singer released a masterpiece solo album, i was no doubt excited. Unfortunately for me, Fall Out Boy has really missed the mark in the worst ways. Now, before you start with the “you just cant handle change” bullshit know, I love change…when its done right. The problem with “most” of Save Rock and Roll is that the changes they made are the worst kind of changes (I’ll expand on this soon, I promise.) This 11 song, 41 minute long album, is too short, too poppy, too similar, and most importantly too stolen to really be the great album I wanted it to be. But, Does it Suck? Let us look further.

Fall Out Boy - Save Rock and Roll

First off, there is obviously a huge change in their sound on this album and yes, it is not in any way going to “Save Rock and Roll.” I still don’t get how an album from a previously post-pop-punk-rock band gone more poppy could possibly save rock and roll, but whatever…its only the title of both the album and the biggest waste of a Elton John guest spot ever (more on that later). There are a lot more synths and beats. There is far more production than their earlier albums. But is this change substantial? I submit that it is not. They are still using the same arrangements and chords, the same simple pop-punk writing. The only difference is that as they continue, they lose more of their punk and gain more pop. The change is not surprising either. Adding a pop driven EDM flare to your music is about as cliché as you can get in today’s music. It is what is popular, so it does not surprise me that the changes they made fit perfectly with what is currently popular. So, yes this album does have a different collection of instruments than previous albums, but the timbre of the music is the same, and the changes are predictable and shallow.

As far as the songs themselves go, this is the first Fall Out Boy album to contain songs that I skip every time I listen to it. The Mighty Fall is just too much pop-rap nonsense for me to enjoy it and the rap absolutely hurts the song in every way. Just One Yesterday is boring and gets old very fast. Young Volcanoes is just too much of everything wrong in the pop industry for me to enjoy is formulaic summer-fun vibe. And Rat A Tat is just a giant mess. The arrangement is a disaster, the songwriting is the weakest on the album, the song is not catchy or interesting, and Courtney Love does not help anything. The album does have a few more interesting songs. My Songs Know What You Did in the Dark has grown on me a lot since I first heard it. Death Valleys obligatory dubstep breakdown is actually kind of fun. To their credit, songs like The Phoenix, Alone Together, Where Did the Party Go, and Miss Missing You are not only the strongest songs on the album, but they are what I would expect a more electronic Fall Out Boy to sound like. They retain those things that made their earlier songs interesting, while adding today’s pop flare without being overdone. These songs are the parts of the album I go back for, even if it means I have to hit the skip button a few times. But, outside of these songs, the album spends way too much time sounding like other things. The two worst offenders are Young Volcanoes and Just One Yesterday. When you hear Young Volcanoes start-up, you know they are trying to have the next “Hey Soul Sister” or “I’m Yours” or “We are Young”. From the chords to the arrangement, this song is full of used up clichés and patterns that leave it feeling hallow. Just One Yesterday starts off like a cover of Burning in the Deep, and then goes on to use the most overused chord progression on its boring and heartless chorus. Finally, if you are going to have Elton John be on a song, have him do something more interesting than the worlds most boring piano part and a boring second verse spot. Let the man play his piano. Take advantage of having such an incredible guy on your album.

Ultimately, I have listened to parts of this album a lot, which is why I can’t say that it completely sucks, but it is one of their weakest albums to date, and is especially disappointing on the heels of Patrick Stumps incredible solo album.


Top 25 Albums of 2012: THE FINAL FIVE!!!

5.The Oh Hellos – Through the Deep, Dark Valley


I found this album in one of my routine iTunes new music searches. This is a process where I take a band I like, look at the bands iTunes says are related, and work my way down until I find something new and interesting. From the very first 30 second preview of this album, I knew it would quickly become a favorite. As I listened to this album over and over again, it just kept growing on me.  I absolutely love their use of harmony, their fun indie folk vibe, and their energy. You just feel like you are right in the middle of a group of people hitting drums, strumming folk instruments and singing loudly. This album captures that incredible energy of community, and it is because of that fact that I gave it the fifth spot. Aside from the more abstract ideals that make me love this album, the lyrics are deep well crafted, the music is catchy and fun, and the melodies and harmonies will melt your heart. This album is absolutely incredible and this band deserves far more attention.

4. Godspeed You! Black Emperor – ‘Allelujah! Don’t Bend! Ascend!


GY!BE’s return to the music scene excited me. They were always one of the more creative post-rock groups out there, and I was getting a bit tired of all of their, in my opinion, underwhelming side projects. They tended to be more experimental, less music. More “unique noises” less epic builds. So, when I heard that the band would be returning to its full form and making a new album, I got excited. I ordered the vinyl the day I could, and patiently waited until it arrived to listen to the album. It’s very rare that I do not try to find an early release leak of an album. But, this album needed to be heard, for the first time, in its entirety, on vinyl. The vinyl itself intrigued me. Listening to side A of a full 12″ LP, then side A of a 7″, then onto side B of both. As I listened through the album, it captured all the things I loved about this band and more: At its quiet moments; dark, ominous and looming, At its loudest points; epic, chaotic and intense, and the extremely well done slow build that takes up the long gap in between. This is epic build post-rock at its absolute finest. With two songs breaking the 20 minute mark, this album is definitely not for everyone, but if you have the time and love for this style of music, then I deeply urge you to check out this album. It is absolutely worth it.

3. Sharon Van Etten – Tramp


Blame it on patriarchy, blame it on my male privilege, or maybe blame it on high, shrill timbres being less appealing to many, but I just can not get into that many female singers.  There are those that I love (Imogen Heap, Daughter, Regina Spektor) but more than not, I tend to find a lot of female lead music tiring. That being said, when my good friend Jeffrey James kept posting about this Sharon Van Etten, I decided to give her music a chance. I am very happy that I did. Her voice is perfectly smooth, never once coming close to annoying. Her music is calm and hypnotic. It is simple, but never boring. She has a flare of weird in her voice, but it never overwhelms the pure beauty that she creates. At times, her composition and melodies almost remind me of a female Rufus Wainwright.The music itself reminds me, at times of a more subdued Yeah, Yeah Yeahs, and at times of Junip, with its hazy beats and guitars. But my favorite moments on this album are the quiet, calm and impressively simple songs. Songs like Joke or a Lie and my personal favorite on the album Give Out, create so much out of so little and evoke so much emotion and beauty. They also allow her stunning voice to stand on its own, and blow you away.

2. Lowercase Noises – Passage

1380554012-1 (1)

I am breaking my rule of not allowing EPs on my favorite albums list this year, because this EP was just so incredibly good, it had to be on here. Perfectly crafted, with stunning instrumentation and arrangement, and not a second that does not demand to be heard. I have already written all about my love for Andy Othling and his newest EP so instead of re-hashing my praise from my earlier article, I would just encourage you to go read it now here:

1. mewithoutYou – Ten Stories


mewithoutYou, one of my all time favorite bands, releases an independent concept album. That should be all I need to write for you to understand why this album is my favorite album of the year. The music is a perfect blend of their earlier works. At times it has the harder nature of Catch for us the Foxes, the melodic beauty of Brother, Sister, and the folky fun of It’s All Crazy. The lyrics are mewithoutYou in their finest. They use deeply poetic writing to paint a wonderful story about a circus train crash, yet there is a deeper story going on. The meaning is so deeply layered, that even know, through countless playthroughs  ,I am still not sure if I completely understand all of things Aaron Weiss was trying to get across. The album is more well-rounded than their last effort, and has such deep, profound messages running throughout it, I could not possibly pick a better album from this year. Although many may disagree with me, I would even argue that this album is mewithoutYou’s finest effort to date. Perhaps it is because their more developed, post modern, mystical philosophies speak to me in  very profound way, but I find this album to be quickly becoming my favorite album of theirs. My new-found appreciation for puns also benefits from some of the sillier moments of wordplay like “Maybe there will be a bakery hiring. We’ll knead a little bit of dough to get back home.”. If you have never listened to mewithoutYou, check out this album. If you grew tired of the folky nature of “It’s All Crazy” you should revisit this incredible band.