Post albums that gargle liquid shit and suck impossibly

For the record, I made this thread (and have made it many times before) because The Microphones are a watered down version of a musician named Emil Amos (Holy Sons) who pioneered this type of music far earlier, and is in my opinion the true representation of it but he hasn't really recieved any credit for it so I try to shill him here every once in a while

I mostly agree with this guy, not because I think those albums are good but because the life of the board was built around discussing them

Read what I wrote here My OP was clickbait but the main purpose is in that comment

>Emil Amos
recommend an entrypoint album?

Decline of the West, it's under the name Holy Sons. He's also in the bands Grails and Om but I don't listen to them that much

cheers

Thanks for taking an interest man

i mean, that's what i'm here for. fwiw i was . should have been the op, but then again, if it was i might not have clicked. so i guess in a way you're right.

You faggot, I've seen you post this before. The Microphones are absolutely not a watered down version or a ripoff of Holy Sons. I was intrigued by the first like 5 minutes of Lost Decade, so I listened to a bunch of their albums. But guess what? They're all fucking shit. Emil's only redeeming factor is his singing ability, but the rest of the musical ensemble is so boring it's unbearable.

The Microphones went in sonic directions that Emil Anus never dreamed of.
Saying The Microphones are a watered down version of Holy Sons, is like saying that Frank Zappa is a watered down version of The Fugs.

mew never had board culture. Fuck off retard.

>pioneered this type of music
>Decline of the West
>2008
am I missing something

Every 'sonic direction' the microphones went in were already dreamed of and executed in greater form by Emil Amos in the 90's. Listen to the fraud Phil Elvcum on marc maron's podcast, he's a dilettante who never knew what he was doing, while Amos is a true craftsman and his music expresses the Truth while the microphones were just fucking around; it doesn't matter if you think it's boring, Holy Sons is objectively superior

nah lmao

It's actually 2006, that's a remastered version; regardless, all of those songs were originally recorded and released in the 90's, they've just been rerecorded throughout the 2000's. The actual style was pioneered by Amos and copied by elvrum

You're talking out of your ass. Holy Sons sounds like Phil's (tedious and unremarkable) later work at best.

you can say it a hundred times and it still wont make it true

I genuinely tried to enjoy this album with zero preconceptions or assumptions about the context or critical acclaim it has received. I'm completely fine with deeply personal and sensitive pieces of music, but this shit was so fucking gay and limp wristed that I had to turn it off after the second song.

Whatever you might think, I'm still glad that this thread took place and provided some semblance of fruitful discussion and fulfilled the role that I wish Yea Forums still fulfilled. Way better than talking about billie fucking ellish

so you didnt listen and are just larping for invisible upvote points. cool. run along now

It gets less gay later on, macho man. Anyway, I would recommend you give it another chance sometime. It took me several listens before it clicked.

If you want a far superior (and released earlier) version of this kind of music, try Lost Decade by Holy Sons

Lads believe me when I say I'm the least macho person on this board right now and this record still made me feel like a massive faggot.

I agree, thank you for baiting with good intentions

jesus how insecure are you

Listen, I’ll stop shitposting and say it straight. From what I can tell, the earliest Holy Sons album is from 1999, and the earliest Elverum tapes were from 1996 (but “real microphones” music started around 1998). these dude were part of two pretty different scenes and happened to have a similar approach to their scenes. Its very unlikely that one influenced the other or vice versa, especially considering that Phil was heavily embroiled in the Olympia scene. I just don’t buy your narrative. They don’t even sound that similar

I'm very comfortable with my sexuality user. That's why it's so baffling that an album could be so gay that it makes me recoil in horror of the sheer faggotry it displays.

I’m surprised you feel that way, because yeah, the album is pretty lowkey at points, but good portions of the album are like experimental noise rock, Samurai Sword is a borderline noise metal song, and even just listening to the end of I Want Wind to Blow / beginning of The Glow, pt. 2 you can see the album plays heavily with distortion and noise and dynamic

t. came here in 2017

You're likely correct; I think my main problem is seeing an artist rise to the top of indie stardom that in my mind looks like a product of marketing and shilling when an artist that I value tremendously remains ignored, yet people seem to like Phil Elvrum for the reasons I think Holy Sons does better ('it's honest,' 'it's real,' 'it's the product of a single person, an outsider artist,' 'they get it,' etc.) This is a highly multifacted issue and there's a lot that goes into all of this, so there's a myriad of directions this conversation could take, but I think if I could boil my concerns down, it would center around the topics of conformity, marketing, the way in which people don't take music seriously, the lack of real discussion about music, etc.

This album intrigues me as a producer because I’ve been trying to achieve the sound of it for a while. Everything sounds like the auditory equivalent of a forest and I don’t know how he does it.

>2019
>doesn’t want to talk about the best new artist of the entire decade

have sex incel.

cont. but I acknowledge that these are ancient problems and will never change. I realize I'm largely screaming into the void but it's something I care about

it’s probably a mixture of recording to tape, stereo-panning, empty tracks (recording background noise, etc) and the idiosyncrasies that come from not really knowing how to mix. there are more subtleties than that. have you heard Other Songs and Destroyed Versions? it gives a little bit of an incite into his recording process, such as the the outro of I Want Wind being recorded in several parts but put together as if 1 seamless track