The Lounge Lizards: s/t


The Lounge Lizards: s/t
(Editions EG, 1981)

The Lounge Lizards were a sharp-dressed act made up of some of the coolest cats in New York City, including filmmaker John Lurie, The Feelies drummer Anton Fier and DNA guitarist Arto Lindsay.

The eclectic (and over the years revolving) lineup reflects the music on their 1981 debut album, where downtown jazz, no-wave and alternative rock flawlessly melt together into a higher unit. They never steered away from the outskirts of the music landscape, embracing an experimental approach and adding a renewed sense of energy and joy to the jazz scene of the early 1980s. They did so with a high acknowledgment of the past and managed to head into the unknown without ever leaving the listener behind.

Mainly consisting of Lurie originals, they also found room for a couple of Thelonious Monk tunes here, an album that still sounds remarkably fresh and exciting. The cover is designed by Peter Salville, best known for his work with Factory Records artists like Joy Division and New Order, who added an extra element of coolness to the band.

The Record Collection: 1989 – 2

R.E.M. | Life’s Rich Pageant | I.R.S, 1986 |

The fourth studio album from R.E.M. was my first encounter with the band. I bought it on cassette in 1986, and the LP version three years later. It’s still the favorite album from a band I never stopped adoring. Characterized by a cleaner production than on their previous efforts (thanks to Don Gehman), a punchy sound while maintaining their enigmatic presence and jangly roots. And of course, it has some of the band’s greatest songs, including the killer opening trio of “Begin the Begin”, “These Days” and “Fall On Me.” I wish I still was in college, bury magnets, swallow the rapture.

The Beasts of Bourbon | The Axeman’s Jazz | Big Time 1985 |

A super supergroup from Australia, including members from Hoodoo Gurus, The Johnnys and of course The Scientists (Kim Salmon). This is their debut album, originally released down under a year before. With a mix of swamp rock, psychobilly and country blues, somewhere between The Cramps, Nick Cave and Hank Williams, this here beast was created during one particularly dark and gloomy evening in Sydney. The opening track and leadoff single, where singer Tex Perkins does a convincing take on Leon Payne’s classic murder ballad “Psycho” still remains one of the highlight on an album packed with stories about death and misery. The Beasts of Bourbon were confronting, abusive and filled with desperation and despair. This album gives you plenty of it all. Pour yourself a glass, turn the lights down low and join this band along the lost highway and into the night.

American Music Club | California | Frontier 1988 |

‘To the left, a beautiful California landscape
Dead ends in the sky
And to the right, beautiful mountains rise
High and dry
Another futile expression of bitterness
Another overwhelming sensation of uselessness’

Mark Eitzel is one of the great American storytellers and voices; deep, stoic and soulful, he fleshes out personal anguish and wry observations with an unmatched eloquent pen. American Music Club lived up to their name and incorporated many different styles into their music over the years, always gravitating around Eitzel’s magnetic presence, and on California they played it all out so extremely well. There is a barren feeling deep inside this golden landscape, where dreams meet the sea, a sense of sadness, longing and hopelessness so wonderfully conveyed on tracks like “Last Harbour”, “Western Sky”, “Laughingstock” or “Firefly”, but all conducted with elegance and beauty. Into a story not only about inner demons, or the state of California, but of America itself.

The Band of… Blacky Ranchette | Heartland | Zippo 1986 |

When Howe Gelb got the country itch, he let Giant Sand rest for a while, saddled up Blacky, teamed up with some of his finest compadres and set out on the western trails. The first Blacky LP came back in 1985, ‘Heartland’ followed a year later. Both albums are a testament to the sparkling relationship between Gelb and Rainer Ptacek, two creative geniuses and close friends until Rainer sadly passed away in 1997. Blacky pursued a more pure country sound than the Giant Sand moniker could provide, but always bumped into the usual detours that makes Howe Gelb’s music so irresistible. This is a “lost” Americana classic way before that became a hip term.

Drivin’ N’ Cryin’ | Mystery Road | Island 1989 |

Drivin’ N’ Cryin’ masterfully merged Southern indie with Southern hard rock and country, and managed to unify it all into a stirring hot cocktail under the guidance of singer and main songwriter Kevn Kinney. Their two previous albums are both wonderful, but Mystery Road shines with confidence, power and the sharpest set of tunes in their entire album catalog. The country/folk songs are particularly strong, “Ain’t It Strange,” With the People,” “Peacemaker,” and of course the wonderful “Straight to Hell” are classics in its own right and also remains a missing link between Gram Parsons and Uncle Tupelo and the whole Americana resurgence of the 1990s. But Drivin’ N’ Cryin’ always had the urge to rock off too, Aerosmith style (“Toy Never Played With,” “Wild Dog Moon”) and ‘Mystery Road’ gives you plenty of it all. This is an album you can drive and cry to.

Pixies | Surfer Rosa | 4AD 1988 |

This is one of my definitive favorite albums of all times, and both Surfer Rosa and Doolittle are on my Top 10 Album List of the 1980s. Pixies was brand new to me when I bought ‘Surfer Rosa’, on a warm springs day, and it became the soundtrack for the summer when I turned 17. How fortunate! I believe the combination of their super catchy songs and disturbing lyrics (“He bought me a soda and he tried to molest me in the parking lot”, “I got no lips, I got no tongue, where there were eyes, there’s only space”, “I’m the horny loser”) somewhat resonated to a teen life being equally carefree and confusing. Needless to say, all these songs here are classics in my book, and every time I put on the album, not as often as before I have to admit, but it’s just as rewarding as in 1989, I’m being transferred back to this time in my life. So grateful Pixies was there to guide me into adulthood. PS: On the back cover, I still see the fingerprint marks from the day I bought it. I hated the stains back then, now it’s almost like a stamp of remembrance, something that would never occur in the digital world. There’s a beauty in that as well.

The Feelies | Only Life | A&M 1988 |

Some discovered The Feelies on their 1980 debut album, and I guess that must’ve been a thrilling experience. I bought my first Feelies-album on a hunch (I believe) some time in 1989. Their legacy didn’t matter to me, it was all about the moment. In hindsight, Only Life might not be considered such a seminal album, but to a perpetual nervous teen it was mind-blowing and just the best thing ever. I was well into jangle pop at the time, but was starting to look out for something with more punch, and The Feelies served just the right mixture of restless indie charm and groovy rhythms. As a huge fan of all kinds of horror movies, I remember how the cover art appealed to me big time, imaging these five fellas standing in front of Amityville, Elm Street or whatever VHS flick I was watching at the time. I guess that is what I still find fascinating; the dreamlike, hypnotic sounds of innocence and the tempting undertows towards something darker. I never tire of The Feelies, and I’ll never stop listening to this album.

Dinosaur Jr. | Bug | SST/Blast First 1988 |

Remember the last time you heard a new album and instinctively knew it would not only blow your brains out in the moment, but also mark the beginning of a life long relationship? An album of such impact that you just had to play it over and over again, share its brilliance with anyone with the slightest of interest and memorize every word and note? Not too often these days for my part, but hopefully youngsters still do, it’s a glorious feeling. I went and saw Dinosaur Jr in this tiny club after buying Bug in the summer of 1989, holding my under-aged breath while sneaking in, squeezed in right by the speaker and witnessed a loud, loud mess of guitar insanity, the songs hardly recognizable, buried deep below endless layers of feedback and noise. My ears were ringing for weeks afterwards. Bug is also a noisy mess, but with this brilliant mixture of emotional vulnerability, slacker coolness and full on assaults that makes it such a classic. “Freak Scene” is the obvious key track, a super catchy indie anthem if there ever was any. I was not the only kid yelling out lines like these on a frequent basis, but it was like J spoke directly to me:
“Sometimes I don’t thrill you
Sometimes I think I’ll kill you
Just don’t let me fuck up will you
’cause when I need a friend it’s still you
What a mess” ‘Bug’ is a lot more thank “Freak Scene” though, “They Always Come”, Budge” and “Let it Ride” are equally addictive, and I’ve always adored hazy slow burners like “Yeah We Know” and “The Post” just as much. One of my fondest memories is tied to the sludgy, epic finale of “Don’t.” Remember how I occupied the DJ booth at our weekly youth club disco and blasted it on max volume, giggling at the horrified faces in front of me. Oh the days of joy and guitar noise.

Black Sun Ensemble | s/t | Reckless 1988 |

Much of the music from the American southwest is rooted in the dusty ground with the barren landscape as a majestic backdrop, but some went even further. I was deep into many of the bands being labeled as ‘desert rock’ at the time, but Black Sun Ensemble was something else indeed. There is an undeniable flavor of the frontier twang in their sound, but as they reached for the sky, they also discovered other horizons, including ritual music, Medieval patterns, space rock and Indian raga. This album is a collection of some of their early hard-to-get cassette releases (‘Sapphire Sky Symphony’, ‘Raga Del Sol’) and a couple of new tracks, and works as a great introduction to one of the many overlooked bands from this time and place. It is a magic carpet ride of hypnotic cosmic desert psychedelia centered round the intricate guitar work of Jesus Acedo (1962-2013), imagine a mix of John Fahey, Jimi Hendrix and Ravi Shankar, instrumental explorations of the outer world and of the inner mind. It’s a trip alright, this is Country & Eastern at its finest.

The Leaving Trains | Transportational D. Vices | SST 1989 |

The Leaving Trains came out of the same vital Los Angeles scene that spawned likeminded artists like The Gun Club, The Flesh Eaters and The Dils. They were a wild ride in the glory days and left behind a string of great albums in the latter half of the 1980s ranging from rambling punk frenzy to introspective, self-loathing material. Transportational D. Vices leans towards the former, with its hard-hitting down-and-out tunes mostly between 1-2 minutes long (including a cool cover of Urinals’ “Black Hole”). Falling James Moreland was the only steady member in a band with a constant revolving lineup, and his keen melodic sense always shines through their ramshackle sound. Falling James is quite a story by the way, notoriously known for his crossdressing appearances, a super brief marriage with Courtney Love, name-dropped by Tom Waits (“Gun Street Girl”), and now retired from music he’s a writer for L.A. Weekly. ‘Transportational D. Vices’ is produced by Earle Mankey (the Weirdos, Runaways, Concrete Blonde, The Three O’Clock, The Long Ryders) and the album cover is a photo of Howe Gelb’s very own ’66 Barracuda. Such is the life of Falling James, packed with fame and tragedy, peculiar incidents and surrounded by cult figures, living in the gutter and looking at the stars. Just as the songs he made.

Year of the Rooster: Årets album og låter 2017

Mitt lyttemønster preges i stor og økende grad av enkeltlåter framfor konsentrerte dypdykk ned i enkeltalbum. Noe skyldes et relativt stort musikalsk konsum hver dag og uke, som ikke gir altfor store rom for grundig fordypning over tid, et luksusproblem som også sier noe om det enorme berget av god musikk som kontinuerlig kommer ut (mest middelmådig, men hvem har vel tid til å bry seg om denslags). Det er derfor kanskje litt bråkjekt å si det, men 2017 har ikke vært preget av dette ene opplagte albumet – det som virkelig har klistret seg fast til den digitale eller fysiske platespilleren i uke etter uke, men snarerer denne jevne strømmen som legger seg til det evig voksende lasset som venter på å bli hørt i den kontekstuelle helheten de fortjener.

Her er lista over albumene og låtene jeg har gledet meg mest over i år, så langt, og jeg tror alle følger med over til 2018 uten å miste altfor mye glans.

Årets album 2017

Kendrick Lamar: Damn
(Top Dawg/Interscope)


– … fordi Hot DAMN. Så bra at han like gjerne ga den ut både framlengs og baklengs. Kunne gitt den ut sidelengs for min del.

Mount Eerie: A Crow Looked At Me
(P.W. Elverum & Sun, Ltd.)


… fordi dette er den av årets plater jeg har hørt mest på som jeg har hørt minst på – og som jeg egentlig ikke vil høre på. Ikke fordi den er dårlig, på langt nær, men fordi det gjør vondt og det er tungt å gå inn i entreen sammen med Phil Elverum denne gangen. Han åpner døra for oss inn til sitt hjem og hjerte, dunkelt belyst er det, leier oss liksom inn, inn i et hus fylt av minner og lukter og savn og sorg etter kona, og han viser oss dette med alt av menneskelig styrke og svakhet som det er mulig å stable på plass i en skjelven favn. Jeg er glad for at han gjorde det. Og lei meg for at han måtte det.

Power Trip: Nightmare Logic
(Southern Lord)

… fordi ingen tar skade av en porsjon mettal for å røske opp litt i ny og ne. Jeg har alltid likt Southern Lord og hatt sans for deres mørke og seige doom-ting, men dette er pur party fra start til slutt, det vil si snaue halvtimen. Jeg har så vidt begynt å olje en litt rusten kjærligheten for vintage thrash, og denne har bare trigget interessen ytterligere. Nightmare Logic har noen av de feteste riffene du vil høre i år, og det i selskap med særs mange sterke metall-utgivelser (Pallbearer, Bell Witch, Converge, Chelsea Wolfe, Wolves in the Throne Room, Elder, Converge…) står denne igjen som årets favoritt – og årets tøffeste råkkeskive.

Tyler the Creator: Flower Boy
(Columbia)


… fordi selv om Tyler the Creator har med seg et fett stjernelag på gjestelisten, inkludert Frank Ocean, Kali Uchis, A$ap Rocky, Jaden Smith, “vår egen” Anna of the North og mange andre, er dette først og fremst blomsterguttens eget mesterverk. På sitt fjerde soloalbum fortsetter Tyler the Creator å tøye musikalske grenser og brette ut sjela si på et vis som er sterkt imponerende.

Rhiannon Giddens: Freedom Highway
(Nonesuch)

… fordi Americana-genren aldri har stått sterkere, med en lang rekke artister, nye og gamle, som alle har levert noen av årets beste og mest relevante plater, som Jason Isbell, John Moreland, Zephaniah Ohora, Rodney Crowell, Hurray For the Riff Raff, Angaleena Presley og en lang rekke andre. Rhiannon Giddens stikker seg likevel ut litt ekstra som en kraftfull og klar stemme i et betent politisk klima. Vandrende langs den sølete frihetsveien har frontfiguren fra Carolina Chocolate Drops laget en plate som med røtter dypt ned i bakken og langt tilbake i tid belyser Amerika av i dag.

Brockhampton: Saturation II
(Question Everything)


… fordi dette Texas/Los Angeles baserte hiphop-kollektivet (unnskyld, boybandet) er årets suverene nykommer, som i år like gjerne fullførte hele sin Saturation-trilogi. Anført av ekstremt kreative Kevin Abstract preges Brockhampton av et vitalt musikalsk overskudd som går på tvers av genre og der alle involverte løfter hverandre opp og fram.

Jane Weaver: Modern Kosmology
(Fire)


… fordi Jane Weaver på sitt sjette album har funnet den perfekte kombinasjonen av deilige krautbeats, rastløs psykedelia og flørtende electronica. Modern Kosmology er som tittelen indikerer en speisa trip ut i kosmos, men det er en plate som heller aldri mister bakkekontakten. Jane Weaver synger med sval og sober stemme, litt sånn Nico-drømmeaktig, og som en sirene lokker hun oss inn i sitt Wicker Man’ske eventyrrike som vi aldri har lyst til å komme ut av.

Peter Perrett: How the West Was Won
(Domino)

…fordi denne tidligere tidligere frontmannen i The Only Ones (de med “Another Girl, Another Planet” og en drøss andre klassikere) har levd flere liv enn de fleste av oss, kommet ut av rennesteinen på mirakuløst vis og minner om at egenskapene som låtskriver ikke har blitt borte på veien. Snarere tvert i mot. Peter Perrett (65) skriver med hjertet bankende utenpå skjorta. Lakonisk og hjertevarm, mørk og morsom lirer han ut av seg smått briljante låter med et blikk og en penn skarpere og mer presis enn de fleste kan drømme om å nærme seg. Hjerteskjærende bra.

Gun Outfit: Out of Range
(Paradise Of Bachelors)


… fordi jeg er en sucker for slackers. Det har kommet mye fint i denne gata i år, Kevin Morby, Courtney Barnett & Kurt Vile og Michael Nau kunne alle vært med her. Men jeg går for denne. Gun Outfit hangler avgårde sånn akkurat passe vindskeivt og fint, men på finurlig vis får de det til å henge sammen. Liker du den slentrende vokalstilen til David Berman (Silver Jews) og de skakke melodilinjene til Pavement koplet med den rastløse energien til The Feelies er dette akkurat den dosen med Cosmic American Indie du trenger i år.

Curtis Harding: Face Your Fear
(Anti-)


… fordi Curtis Harding har en av disse uimotståelige varme soul-stemmene, og han forvalter arven etter de store (Marvin, Curtis et al) bedre enn de fleste – uten egentlig å bryte ny grunn. Han imponerte med debuten Soul Power i 2014, og fortsetter den fine stilen med Face Your Fear. Jeg hadde ikke tenkt at denne skulle havnet på Topp 20, dette er ikke en plate som nødvendigvis avdekker nye hemmeligheter for hver gjennomhøring, men den sitter veldig godt på øret til de fleste sammenhenger og har hengt med gjennom hele året. Og alle trenger vi en god dose soul i hverdagen.

***

Valerie June: The Order of Time
(Caroline)

Posse: Horse Blanket
(Self-released)

The Feelies: In Between
(Bar/None)

Couch Slut: Contempt
(Gilead Media)

Anouar Brahem: Blue Maqams
(ECM)

Ruby Rushton: Trudi’s Songbook: Volume One & Two
(22a)

Kaleema: Nómada
(Tropical Twista)

Trio Da Kali & Kronos Quartet: Ladilikan
(World Circuit)

Dean Hurley: Anthology Resource Vol. 1: △△
(Sacred Bones)

Zara McFarlane: Arise
(Brownswood Recordings)

Howe Gelb & Lonna Kelly: Further Standards
(Fire)

gelb.jpg

~ ~ ~ bobbling below ~ ~ ~
//JAY Z: 4:44//Susanne Sundfør: Music For People In Trouble//Fleet Foxes: Crack-Up//Thundercat: Drunk//Grizzly Bear: Painted Ruins//Michael Nau: Some Twist//This is the Kit: Moonlight Freeze//The Dream Syndicate: How Did I Find Myself Here//Sannhet: So Numb//Gas: Narkopop//Thurston Moore: Rock N Roll Consciousness//The War on Drugs: A Deeper Understanding//Slowdive: s/t//Protomartyr: Relatives in Descent//Laura Marling: Semper Femina//Aimee Mann: Mental Illness//Waxahatchee: Out in the Storm//Big Thief: Capacity//Joan Shelley: s/t//Aldous Harding: Party//Father John Misty: Pure Comedy//Tara Jane O’Neil: s/t//Rodney Crowell: Close Ties//Jason Isbell and the 400 Unit: The Nashville Sound//Hurray for the Riff Raff: The Navigator//Angaleena Presley: Wrangled//Erlend Ropstad: Alt som har hendt//Phoebe Bridgers: Stranger in the Alps//Matttis Kleppen: Bassgitar//Spoon: Hot Thoughts//Zephania Ohora: This Highway//Tønes: Sesong 4//Esmerine: Mechanics of Dominion//King Krule: The Ooz//

Topp 100 Låter

Hele spillelista hører du her

Father John Misty: Pure Comedy

JAY-Z: The Story of O.J.

Kendrick Lamar: HUMBLE.

Shabazz Palaces: Shine a Light (feat. Thaddillac)

Grizzly Bear: Four Cypresses

Drake: Passionfruit

Ezra Furman: Driving Down to L.A.

Hurray For the Riff Raff: Pa’lante

Harry Styles: Sign of the Times

Thundercat feat. Michael McDonald & Kenny Loggins: Show You the Way

~~~Bubbling below~~~
Frank Ocean: Chanel
Cende: What I Want
Ariel Pink: Another Weekend
Fleet Foxes: -Naiads, Cassadies
Girl Ray: Stupid Things
Posse: Keep Me Awake
Washed Out: Get Lost
Kevin Morby: City Music
Phoebe Bridgers: Funeral
The Dream Syndicate: How Did I Find Myself Here

Kendrick Lamar: The Heart Part 4
Faux Ferocious: Me and Johnny
Peter Perrett: Living in My Head
This is the Kit: Bullet Proof
Michael Nau: Big Wind No Sail
Future feat. Kendrick Lamar: Mask Off (Remix)
Valerie June: The Front Door
Zephaniah O’Hora: High Class City Girl From the Country
King Krule: Dum Surfer
Thurston Moore: Turn On

The Feelies: Turn Back Time
Jason Isbell and the 400 Unit: If We Were Vampires
QTY: Michael
Laura Marling: Soothing
Sudan Archives: Come Meh Way
Linda Vidala, KingSkurkOne, OnklP, Kamelen: Bængshot (Remix)
Vic Mensa: Say I Didn’t
Bedouine: One of These Days
Beach Fossils: Down the Line
Gun Outfit: Strange Insistence

Luis Fonsi, Daddy Yankee, Justin Bieber: Despacito (Remix)
J A Y E L E C T R O N I C A: Letter to Falon
Andrew Combs: Rose Colored Blues
Big Sean: Bounce Back
Sampha: (No One Knows Me) Like The Piano
Michael Nau: Big Wind No Sail
The War On Drugs: Thinking of a Place
Manchester Orchestra: The Alien
Miley Cyrus: Malibu
Steven Wilson w/ Ninet Tayeb: Pariah

King Gizzard and the Lizard Wizard: Tezeta
Gold Star: Come With Me
Kamasi Washington: Truth
Real Estate: Darling
Afghan Whigs: Arabian Heights
Otis Taylor: Walk on Water
Rolling Blackouts Coastal Fever: French Press
Curtis Harding: On and On
Karen Elson: Distant Shores
Mount Eerie: Real Death

Big Thief: Mary
King Gizzard & the Lizard Wizard: Rattlesnake
Floating Points: Silurian Blue
Jay Som: The Bus Song
Lizzo: Water Me
Courtney Barnett & Kurt Vile: Over Everything
Rodney Crowell: It Ain’t Over Yet
Erlend Ropstad: Det Store Blå
David Ramirez: Twins
Tara Jane O’Neil: Flutter

Milk Music: Crying Wand
Mashrou’Leila: Roman
Mary Epworth: Me Swimming
Kacy & Clayton: Just Like a Summer Cloud
Bing & Ruth: The How of It Sped
Protomartyr: My Children
Saba Abraha: Wicked Ways
Ought: These 3 Things
Pinegrove: Intrepid
Woods: Spring Is in the Air

Emily Haines & the Soft Skeleton: Fatal Gift
Selena Gomez: Bad Liar
Vince Staples: BagBak
Algiers: The Underside of Power
Kevin Morby: Baltimore (Sky at Night)
Leikeli47: 2nd Fiddle
Brockhampton: SWEET
Charlotte Gainsbourg: Ring-a-Ring O’ Roses
St. Vincent: New York
Lilly Hiatt: The Night David Bowie Died

Slowdive: Sugar For the Pill
Everything Is Recorded feat. SYD, Sampha: Show Love
Kaleema: Sierra Leona
Colter Wall: Kate McCannon
Tønes: Våkna ny
Jeb Loy Nichols: Come See Me
Sam Gellaitry: Jungle Waters
Julien Baker: Appointments
Sufjan Stevens: Tony Harding (in D Major)
Lambert: In the Dust of Our Days

1980-tallet: 200 Favorittalbum

80s_albums_final_1200
Denne lista over de 200 beste albumene fra 1980-tallet er ikke satt sammen av et panel med eksperter som har kåret en objektiv og endelig avgjørelse (som om det skulle være mulig). Dette er en liste over mine favoritter. De fleste ble oppdaget på 80-tallet, spesielt etter 1986, og står dermed selvsagt ekstra sterkt i internminnet. Andre har blitt ervervet og verdsatt i ettertid, og bidrar (heldigvis) til at sjangerbredden er noe variert og at tilsiget er konstant økende.

Et kjapt blikk på de 200 avslører at amerikansk gitarrock stod – og står – høyere i kurs enn, la oss si britisk synthpop. Ei heller er sjangre som hardrock og hip hop overrepresentert for å si det forsiktig – og mange av tiårets storselgere innen pop og rock gikk under denne radaren da, og har blitt liggende senere. Men noe skal man også ha til gode. Dette er min liste pr nå, og den er på langt nær hugget i stein. Tvert i mot, jeg gleder meg til å flikke på den, og bytte ut med nye favoritter ettersom de kommer min vei. Dette er uansett alle vinnere.

Utvalget er begrenset til to album pr. artist, så her er det mange darlings som er killed. Albumene er satt opp i rekkefølge, men etter de 20-30 første må det sies at den eksakte plasseringen er noe lemfeldig organisert. Uansett, skal du først ha med deg 200 80-tallsskiver på en øde øy ville jeg startet omtrent her.

doolittle1-10:
Pixies: Doolittle (1989)
Sonic Youth: Daydream Nation (1988)
Dinosaur Jr.: You’re Living All Over Me (1987)
Nirvana: Bleach (1989)
The Replacements: Let It Be (1984)
R.E.M: Murmur (1983)
Violent Femmes: s/t (1983)
Pixies: Surfer Rosa (1988)
Beastie Boys: Paul’s Boutique (1989)
Giant Sand: Valley of Rain (1985)

miami11-20:
Gun Club: Miami (1982)
The Feelies: Crazy Rhythms (1980)
The Dream Syndicate: The Days of Wine and Roses (1982)
Hüsker Dü: Warehouse: Songs and Stories (1987)
Wipers: Youth of America (1981)
Minutemen: Double Nickels on the Dime (1984)
Butthole Surfers: Locust Abortion Technician (1987)
Thin White Rope: Moonhead (1987)
Green on Red: Gravity Talks (1983)
Public Enemy: It Takes a Nation of Millions to Hold Us Back (1988)

reckoning21-30:
R.E.M: Reckoning (1984)
Mudhoney: Superfuzz Bigmuff (1988)
deLillos: Suser avgårde (1986)
Meat Puppets: II (1983)
Sonic Youth: Sister (1987)
Dinosaur Jr.: Bug (1988)
Nick Cave and the Bad Seeds: Tender Prey (1988)
The Smiths: The Queen is Dead (1986)
Nomeansno: Wrong (1989)
Hüsker Dü: New Day Rising (1985)

freshfruit31-40:
Dead Kennedys: Fresh Fruit For Rotting Vegetables (1980)
Brian Eno & Daniel Lanois: Apollo – Atmospheres & Soundtracks (1983)
Talking Heads: Remain in Light (1980)
Black Flag: Damaged (1981)
Giant Sand: The Love Songs (1988)
Slayer: Reign in Blood (1986)
David Bowie: Scary Monsters (and Super Creeps) (1980)
Jokke & Valentinerne: Et hundeliv (1987)
Joy Division: Closer (1980)
Julee Cruise: Floating Into the Night (1989)

fugazi41-50:
Fugazi: s/t EP (1988)
The Replacements: Tim (1985)
The Stone Roses: s/t (1989)
Raga Rockers: Maskiner i Nirvana (1984)
The Rain Parade: Emergency Third Rail Power Trip (1984)
Tom Waits: Rain Dogs (1985)
Jane’s Addiction: Nothing’s Shocking (1988)
Green on Red: Gas Food Lodging (1985)
N.W.A: Straight Outta Compton (1988)
Killdozer: Intellectuals Are the Shoeshine Boys of the Ruling Elite (1984)

songsabout51-60:
deLillos: Hjernen er alene (1989)
Leonard Cohen: I’m Your Man (1988)
Godflesh: Streetcleaner (1989)
Arthur Russell: World of Echo (1986)
Naked City: Torture Garden (1989)
Descendents: Milo Goes to College (1982)
Cosmic Psychos: Go the Hack (1989)
Tad: God’s Balls (1988)
Big Black: Songs About Fucking (1987)
Swans: Children of God (1987)

brownreason61-70:
Butthole Surfers: A Brown Reason to Live (1983)
The Dream Syndicate: Live at Raji’s (1989)
Thin White Rope: In the Spanish Cave (1988)
The Cramps: Psychedelic Jungle (1981)
The Pogues: If I Should Fall From Grace With God (1988)
Barracudas: Drop Out With the Barracudas (1982)
Jonathan Richman and the Modern Lovers: It’s Time For… (1986)
Bad Brains: s/t (1982)
The Fall: This Nation’s Saving Grace (1985)
Sunnyboys: s/t (1981)

suffer71-80:
Bad Religion: Suffer (1988)
The Soft Boys: Underwater Moonlight (1980)
Faith No More: The Real Thing (1989)
Bruce Springsteen: Nebraska (1982)
American Music Club: California (1988)
Metallica: Master of Puppets (1986)
Napalm Death: Scum (1987)
The Waterboys: This is the Sea (1985)
Nick Cave and the Bad Seeds: Kicking Against the Pricks (1986)
Hasil Adkins: He Said (1985)

ultramega81-90:
Soundgarden: Ultramega OK (1988)
Lounge Lizards: s/t (1981)
Cowboy Junkies: The Trinity Sessions (1987)
Rapeman: Two Nuns and a Pack Mule (1989)
Orchestra Baobab: Pirates Choice – the 1982 Sessions (1989)
Massacre: Killing Time (1981)
Michael Jackson: Thriller (1982)
Guns N’ Roses: Appetite for Destruction (1987)
King Sunny Ade: Juju Music (1982)
Knutsen & Ludvigsen: Juba Juba (1983)

junkyard91-100:
The Birthday Party: Junkyard (1982)
The Jesus and Mary Chain: Psychocandy (1985)
XTC: English Settlement (1982)
Prince: Sign ‘O’ The Times (1987)
Tom Waits: Swordfishtrombones (1983)
The The: Infected (1986)
Talk Talk: Spirit of Eden (1988)
dePress: Block to Block (1981)
Brian Eno & David Byrne: My Life in the Bush of Ghosts (1981)
Motörhead: Ace of Spades (1980)

***

graceland101-110:
My Bloody Valentine: Isn’t Anything (1988)
The Pogues: Rum, Sodomy and the Lash (1985)
This Heat: Deceit (1981)
Paul Simon: Graceland (1986)
Richard & Linda Thompson: Shoot Out the Lights (1982)
Dire Straits: Making Movies (1980)
The Go-Betweens: 16 Lovers Lane (1988)
Young Marble Giants: Colossal Youth (1980)
Echo & The Bunnymen: Ocean Rain (1984)
Prefab Sprout: Steve McQueen (1985)

nightfly111-120:
The Cure: Pornography (1982)
The Wipers: Over the Edge (1983)
Neil Young: Freedom (1989)
Dumptruck: for the Country (1987)
The Jesus Lizard: Pure (1989)
The Gun Club: Fire of Love (1981)
Donald Fagen: The Nightfly (1982)
Elvis Costello/The Costello Show: King of America (1986)
Lou Reed: New York (1989)
Dexy’s Midnight Runners: Searching For the Young Soul Rebels (1980)

lost_weekend121-130:
Scratch Acid: Berserker EP (1987)
Pylon: Chomp (1983)
David Sylvian: Secrets of the Beehive (1987)
Anthrax: Among the Living (1987)
Scientists: Weird Love (1986)
AC/DC: Back in Black (1980)
Talking Heads: Stop Making Sense (1984)
Orange Juice: You Can’t Hide Your Love Forever (1982)
Flipper: Album – Generic Flipper (1982)
Danny & Dusty: The Lost Weekend (1985)

donut_comes_alive131-140:
Mission of Burma: vs (1982)
Iron Maiden: Number of the Beast (1982)
Slint: Tweez (1989)
Roky Erickson: The Evil One (1980)
Alice Donut: Donut Comes Alive (1988)
Died Pretty: Free Dirt (1986)
The Legendary Stardust Cowboy: Rock-It to Stardom (1984)
U2: War (1983)
Killing Joke: s/t (1980)
Circle Jerks: Group Sex (1980)

houndsoflove141-150:
Saccharine Trust: Paganicons (1981)
Squeeze: Argybargy (1980)
Radka Toneff: Fairytales (1982)
Kate Bush: Hounds of Love (1985)
Fang: Landshark (1982)
Steve Earle: Guitar Town (1986)
Moving Targets: Burning in Water (1986)
The Long Ryders: Native Sons (1984)
Swell Maps: Jane From Occupied Europe (1980)
Tears For Fears: Songs From the Big Chair (1985)

oceanrain151-160:
The Triffids: Born Sandy Devotional (1986)
Motor Boys Motor: s/t (1982)
Living Colour: Vivid (1988)
P.I.L: Metal Box (1980)
X: Los Angeles (1980)
The db’s: Stands For Decibels (1987)
Hoodoo Gurus: Stoneage Romeos (1984)
Agent Orange: Living in Darkness (1981)
The Psychedelic Furs: s/t (1980)
Eyeless in Gaza: Red Rust September (1983)

repareres_jokke161-170:
ESG: Come Away With ESG (1983)
RUN DMC: Raising Hell (1986)
Galaxie 500: On Fire (1989)
True West: Drifters (1984)
Minutemen: What Makes a Man Start Fires? (1982)
Jokke & Valentinerne: Alt kan repareres (1986)
Black Flag: My War (1984)
Minor Threat: Out of Step (1983)
Divine Horsemen: Devil’s River (1986)
Naked Prey: 40 Miles From Nowhere (1987)

rotorvator171-180:
The Feelies: Only Life (1988)
Stan Ridgeway: The Big Heat (1985)
Green River: Rehab Doll (1988)
Coil: Horse Rotorvator (1986)
D.O.A: War on 45 (1982)
Dead Kennedys: Frankenchrist (1985)
David Lynch: Eraserhead (1982)
The Cramps: Songs the Lord Taught Us (1980)
Wall of Voodoo: Call of the West (1982)
The Beasts of Bourbon: Sour Mash (1988)

paganplace181-190:
The Waterboys: A Pagan Place (1984)
Beastie Boys: Licensed to Ill (1986)
Dead Moon: In the Graveyard (1988)
The Pretenders: s/t (1980)
Los Lobos: How Will the Wolf Survive (1984)
Suicidal Tendencies: s/t (1983)
Camper Van Beethoven: Telephone Free Landslide Victory (1985)
Violent Femmes: Hallowed Ground (1984)
Lloyd Cole & the Commotions: Rattlesnakes (1984)
The Rainmakers: s/t (1986)

deadcops191-200:
Rockpile: Seconds of Pleasure (1980)
The Crucifucks: s/t (1984)
Glenn Branca: The Ascension (1981)
M.D.C: Millions of Dead Cops (1982)
Dumptruck: for the Country (1987)
The New Christs: Distemper (1989)
Bitch Magnet: Umber (1989)
Oxbow: Fuck Fest (1989)
Lard: The Power of Lard (1989)
Alphaville: Forever Young (1984)

Bjørn Hammershaug