I’m dusting off the #buzz review with a stunning album, thank you @[ALFAMA].
Bugskull - Phantasies and Senseitions (Road Cone, 1994)
It might seem like a statement meant to define this album as something solely intended for a "teenage" type of listening, but that's clearly not the case. Yet, when I listened to it for the first time, I thought this is the music I would have loved to hear when I was younger, and I somehow felt deprived of something important during those years (where I was clearly subjected to a bombardment of mostly trash music or truly "liquid" music, in the sense of being devoid of any significant content) as I have experienced other times, for example, with the late - in terms of its time - discovery of bands like Pavement or Sebadoh, which I would also associate with this group called Bugskull, a project by Oregon-born musician Sean Byrne (here accompanied by Brendan Bell and James Yu, who were stable members of the band for a period). However, there’s much more to this album released back in 1994 on Road Cone. Sean Byrne was a visionary artist full of inventiveness, combining the typical free spirit and youthful sensitivity of the aforementioned Pavement with experimental minimalist lo-fi recordings and sampling, alongside an abstract attitude reminiscent of the Residents or Zappa-derived sounds. Each track on this lengthy album of 18 tracks thus constitutes a meeting point between these experiences, which are not treated distinctly but synthesized into a unique whole, anticipating by a year even the same “Wowee Zowee,” which also featured free-form elements that are here clearly accentuated with a genius somewhere between Jad Fair and Mark Linkous, along with slow-motion jazz influences from Tuxedomoon. Perhaps the greatest (almost encyclopedic) indie-rock album of the nineties.
#LOFI #INDIE #BUGSKULL
bugskull - recoder
Bugskull - Phantasies and Senseitions (Road Cone, 1994)
It might seem like a statement meant to define this album as something solely intended for a "teenage" type of listening, but that's clearly not the case. Yet, when I listened to it for the first time, I thought this is the music I would have loved to hear when I was younger, and I somehow felt deprived of something important during those years (where I was clearly subjected to a bombardment of mostly trash music or truly "liquid" music, in the sense of being devoid of any significant content) as I have experienced other times, for example, with the late - in terms of its time - discovery of bands like Pavement or Sebadoh, which I would also associate with this group called Bugskull, a project by Oregon-born musician Sean Byrne (here accompanied by Brendan Bell and James Yu, who were stable members of the band for a period). However, there’s much more to this album released back in 1994 on Road Cone. Sean Byrne was a visionary artist full of inventiveness, combining the typical free spirit and youthful sensitivity of the aforementioned Pavement with experimental minimalist lo-fi recordings and sampling, alongside an abstract attitude reminiscent of the Residents or Zappa-derived sounds. Each track on this lengthy album of 18 tracks thus constitutes a meeting point between these experiences, which are not treated distinctly but synthesized into a unique whole, anticipating by a year even the same “Wowee Zowee,” which also featured free-form elements that are here clearly accentuated with a genius somewhere between Jad Fair and Mark Linkous, along with slow-motion jazz influences from Tuxedomoon. Perhaps the greatest (almost encyclopedic) indie-rock album of the nineties.
#LOFI #INDIE #BUGSKULL
bugskull - recoder
sotomayor
20 mar 18
DeRank ™: 3,83
Loading comments slowly
