Never Ending Internet Mix Tape

a musical exquisite corpse. look it up.

Vol 03 / Trk 03 / Slipstream / Silkworm

This is not to slam Robb by any means, but I just plain didn’t like his track. It takes me back to 1998, when I met my first college punk friends, Adam and Vince, and at the time they listened to a lot of Braid and early Promise Ring and Knapsack and Cap’n Jazz, which I had to tolerate gamely if I wanted to hang out with them. It always all struck me as superficial and monotonous. To me, that’s what true emo really is—kinda sloppy guitar rock featuring dudes who sang off key, recorded badly on 4-track. This music was a huge part of some people’s life experiences, and I respect that enormously. It just wasn’t my thing, and I’m glad those bands and that sub-genre evolved.

The second half of “Feel the Mores” reminded me of an airier version of Silkworm, who sort of began in that emo vein before finding their own style quickly as something far more muscular and interesting. I had several of their early songs to choose from for this post—one was a lot like the Wicked Farleys and one had some great time changes and one was an epic 9 minutes. But I’d rather use a song that evolved from that sound instead of followed it closely. So I went with “Slipstream,” which is perhaps two steps removed from “Feel the Mores,” but was my favorite of the options. Let’s face it—the 38 seconds starting at 1:34 are just fucking awesome. Coming in a close second: the line “Steve Albini, you’d better learn to take it easy. You know they used to call him Albini-weenie.”
m. joosse

Filed under: Vol 03, , ,

About the NEIMT

Every couple of days, one of the NEIMT authors will post a song that is in some way a reaction to the previous song posted by another author. Every 15 songs will be packaged up with cover art and presented for download as a complete mix. The only rule is that no artist can appear more than once in the same volume.

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We freely admit that this blog is probably a violation of artistic copyright law. We put together these mix "tapes" as way to share great music in a way that encourages artist support and utilizes grassroots promotion by purposefully violating those copyrights. We would like to imagine that no artist in their right mind would oppose such altruistic intentions despite its bureaucratic insubordinance.

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