Guided by Voices: Sandbox

Guided by Voices: Sandbox

1987

Gotham City Music

Format I Own it on: Compact Disc (cos I'm not a gazillionaire)

Track Listing: 1. Lips of Steel  2. A Visit to the Creep Doctor  3. Everyday  4. Barricade  5. Get to Know the Ropes  6. Can't Stop  7. The Drinking Jim Crow  8. Trap Soul Door  9. Common Rebels  10. Long Distance Man  11. I Certainly Hope Not  12. Adverse Wind


For some reason, I usually see this one pointed out as being Guided by Voices worst album. I have no idea why, really. Maybe it's because Pollard himself has said so and therefore it's so? Maybe I enjoy Big Star-style power-pop more than the average GBV fan does? Maybe I have terrible taste in music and that's why I own so many Phil Collins albums? I dunno. But I love "Sandbox."

First off. I like every single song on it. I'd say about 10 out of these 12 songs are top-shelf fantastic. I can't think of many other GBV full-lengths that have such a high hit-to-miss ratio. For the record, the weak-spots (for me) are "The Drinking Jim Crow" even though it's probably the most GBV-ish song on here. It sorta sounds like "Everywhere With Helicopter" now that I think about it,  but it never comes up with a good chorus like that song did. The other weak spot is "Trap Soul Door," which is just a bit too moody and earnest for my liking, even though I highly enjoy that little "oooo" harmony at the very end. Even though, neither of these songs are bad by any stretch of the imagination. They're just the ones I'm slightly less enthusiastic about. 

Then there are a couple songs that I always forget I love until I re-listen to the album. Songs that I think have a shaky premise but ultimately overcome them. In this category are"Common Rebels" which has a fairly irritating and laughable vocal melody until the last minute or so when Bob suddenly full-throatedly belts it out and you're suddenly forced to appreciate the majesty of it. I also always kinda groan when the hickish cow-punk verses of "Certainly Hope Not" come on, but the chorus (which comes out of  absolutely nowhere) is a thing of beauty, Oh, yea. I should probably point out that Pollard's vocals are especially hick-ish on this record. No fake British accent here. If anything, it sorta sounds like a fake southern accent. 

And the fake southern accent works beautifully on "Every Day," which I place near the top of my all-time favorite GBV tracks.  The best REM song REM never wrote. Just 3 minutes of rural bliss pop. Shopping mothers rushing home to their pretty little houses (and lawns), where the guys blow all their money to put racing stripes on their shitty little cars. I don't know what it is about the song. It just seems to make every right move. It's also the type of song they would never do again, which makes me sad. I always liked it when they attempted to be a burlier version of REM. 

My other favorite on here has to be the album closer "Adverse Wind." When he wants to, Pollard sure knows how to properly close out an album and this is one of his finest examples. That soaring chorus of " I hear you crying, you're only a lifetime away..." sure gets you pumped to hit that replay button, which is my favorite kind of album closer (I've always thought there are two ways to properly close an album. 1. Put 'em through the ringer and exhaust the listener so when they're done they're like, "I am SPENT"  (see "Father Sgt Christmas Card" or (especially) "Inspiration Points") or 2. You save up one last short blast of overwhelming awesomeness (see "Adverse Wind," "Non Absorbing" or "Huffman Prairie Flying Field"). I don't know who's playing that shredding guitar line but they deserve a raise for sure. 

Just a lot of humble, rocking, poppy stuff. Rural indie rock. All beautifully sung with nice shimmering guitars. I can't recommend it enough (even though it's usually everyone's least favorite GBV album). I'd say give it a try even (maybe especially if) you're not entirely sold on GBV. Although the only way you can get it is in a big-ass box set at which point you'd be fully immersed into the deep end of GBV anyway. Oh, wait. They invented the internet and stuff. Just listen to it on youtube...Like this...

Here's "Everyday" by GBV...

oh, and "Adverse Wind." You should probably hear this one too...

Oh, yea. My ongoing real-time Pollard ranking list (from best to least-best):

1. Sandbox
2. Forever Since Breakfast
3. Devil Between My Toes

(this is going to be one absurdly long list once I'm done). 

Guided by Voices: Devil Between My Toes

Guided by Voices: Devil Between My Toes

1987

Format I Own it on: Compact Disc

Track Listing: 1. Old Battery  2. Discussing Wallace Chambers  3. Cyclops  4. Crux  5. A Portrait Destroyed by Fire  6. 3 Year Old Man  7. Dog's Out  8. A Proud and Booming Industry  9. Hank's Little Fingers   10. Artboat  11. Hey, Hey Spaceman  12. The Tumblers  13. Bread Alone  14. Captain's Dead


Wow! Is that an actual photo of the legendary Big Daddy on the cover? Alright. I'm adding a point for that...

This is GBV's first full-length. Their debut ep was recorded in a real-deal studio, with polished songs and the fidelity of a sparkling demo. This however is a mish-mash of great songs, so-so songs and a bunch of pointless instrumentals that sound like they were recorded in the deepest, dankest basement known to man. But it does creep the band slightly out of REM's shadow and forward into sounding more like the GBV we all know and love and for that it's notable...

The Great: "Hey, Hey Spaceman" is the sort of top-notch pop fantasia they would soon be tossing off left and right. A blueprint for the creamy goodness to come. The opener "Old Battery" is definitely a by-product of their REM obsession but it's so much weirder than REM ever got. It sounds like Michael Stipe with a fork in a light socket fronting Wire. And the melody is catchy. so it earns its place as an early-GBV classic.  "Dog's Out" has a nice-little choppy riff. The sort of thing they would later nail on tracks like "Postal Blowfish" and the chorus actually manages to muster up a bit of grandeur. They also end on a high note with album-closer "Captain's Dead" where they lay some long, nice harmonies over a bit of punkish zip.

Y'know what? After some deliberation, I've decided to toss "Portrait Destroyed by Fire" into the great category. It's one of those songs that took me awhile to warm up to, but I think it's important as the earliest example of the murky, prog that would become an important part of Pollard's repertoire. Plus it gives us an early sampling of Tobin Sprout's impish vocal stylings (again, a small taste of greatness to come). There's just something about  how it evolves from the long moody intro all the way into the fiery finale where Pollard howls the song's title while the flames surround him...A longform (5 minutes?!?!) hazy epic....

The So-So: Theoretically I should love "Discussing Wallace Chambers" and "Hank's Little Fingers" since they're the type of Pollard-pop that I love so much, but I somehow find them even too fluffy and sugary for me (an Apples in Stereo fan!!). This album contains the only examples of GBV pop songs that tip too much into the lightweight category, btw. Going forward there would be sufficient melancholy to counteract even the bubble-gummiest of melodies..."Cyclops" and "The Tumblers" are just sorta forgettable filler (and at two minutes and forty-five seconds "The Tumblers" still comes off as overlong)...

Pointless instrumentals: Yes, the remaining five songs are all pointless instrumentals. If you're a seasoned GBV fan this will seem weird, since I don't even know if they ever released five instrumentals total after this album Which is a practice I'm glad they quickly abandoned. I guess if I had to pick a favorite out of the pointless instrumentals, I'd maybe go with "Crux" just because it has a bit of movement (some rudimentary riffing over the world's boxiest, most card-boardish drum machine) the rest just sort of hum there and feed back ear-splittingly from time to time...

I do find it somewhat charming that GBV decided to half-ass it for their debut album. I mean, at this point nobody even knew they existed, so nobody was waiting with bated breath for their big debut. I mean, why not take that time to write some songs? Ah, well...Keep it Motion, I guess...

Alright...This is going to be a new feature during these GBV/Pollard posts. I'm going to attempt to rank every record (again, that I own. There are a ton I do not) as we go through them (strictly for selfish and academic reasons)...So here we go...

1. Forever Since Breakfast
2. Devil Between My Toes

There...I like "Forever Since Breakfast" slightly more than "Devil Between My Toes." In fact, "Devil Between My Toes" might be among the GBV records I listen to the least...But they would soon remedy it's deficiencies. Still, the great songs I listed above really are worth your time ("Hey Hey, Spaceman" especially)...

Let's stop talking and start listening. Here's "Hey Hey, Spaceman" by Guided by Voices...Enjoy...

Guided by Voices: Forever Since Breakfast

Y'know what? The blog was feeling a little stale. My output has ground to a halt. Let's spice things up, baby! I feel like doing a project. Here's a big one. I'm going to listen to every Guided by Voices/Robert Pollard album I own in chronological order and tell you my thoughts. GBV has long been my favorite band and I'm one of the rare people who feel Pollard hasn't put out enough albums. And with his 100th album coming up, I felt this would be a good time. It's something I love listening to and talking about. Now keep in mind, this isn't anywhere near a comprehensive Pollard list, this is only what I have, but I do have a goodly number of them, so let's get this rolling...




Guided by Voices: Forever Since Breakfast

1986

I Wanna Records/Matador

Format I Own it on: Compact Disc

Track Listing: 1. Land of Danger  2. Let's Ride  3. Like I Do  4. Sometimes I Cry  5. She Wants to Know  6. Fountain of Youth  7. The Other Place

The band's debut EP. I got this as part of Matador Record's 2003 box set "Hardcore UFO's." Prior to that, the album was so rare and prohibitively expensive that I could only speculate as to what it sounded like, Common critical consensus was that  it was subpar, overly slick and not indicative of what GBV would eventually become. Still I was curious. 

When the EP was finally re-released in 2003, I ran to the record store and bought a copy the day it came out. And even though it was marked Disc 5, it was the first one I tossed in the ol' CD player. And my opinion on it? It sounded like a long-lost REM EP. A fucking glorious long-lost REM EP. I'm telling you, if REM would have put this out, songs like "Land of Danger" and the life-affirmingly catchy "The Other Place" would be revered classics. Stipe and Co would have been on the receiving end of much critical knob-slobbering. 

As for the overly-slick tag? I don't hear it. I guess I could expect such criticisms when GBV were in their lo-fi heyday but I've heard so much Pollard material that is so much slicker than "Forever Since Breakfast" that I hardly notice the fidelity. Some of it sorta reminds me of early 2000's Doug Gillard-era GBV. Very fleshed-out with lots of guitar detail...

The distant vocals and background noise of "LIke I Do" does give us a glimpse of the airy, home-recorded lo-fi that was just around the corner...And it's the only song on the album under 3 minutes (another signifier of things to come). I'm a big fan of "Like I Do," actually. There's something about Bob's melancholy, quieter stuff from the earlier years. Back when he thought no one was listening. There's something especially isolated and lonesome about it all...

Can this EP be counted among the great GBV albums? Hell, no. But it's definitely a good, little listen.  Pollard was already a fantastic vocalist (he has a much sweeter tone here, his voice deepens and gets a bit grit over the next couple of albums) but he hadn't found his own voice yet. I'd call it an indispensable part of the (honorary) REM Discography though.  One of the top 5 REM releases for sure!

Alright, let's listen to some music...Here's "The Other Place"...Enjoy...

The Fall: Slates

The Fall: Slates

1981

Rough Trade Records

Format I Own it on: Vinyl

Track Listing: 1. Middle Mass  2. An Older Lover Etc.  3. Prole Art Threat  4. Fit and Working Again  5. Slates, Slags, Etc  6. Leave the Capitol


A 6-song 10-inch EP (that cost me a little more than I should have paid, but I couldn't resist that glorious cover) but don't let its brevity fool you. This thing is jam-packed with prime Fall. And although there's no big stand-out capital C classic you can really point to, it's one of their best and most interesting releases, because it acts as an exploded view of the Fall....

You get to view all the band's different aspects, from shambling rockabilly corkers ("Fit and Working Again), to bass driven drone rock ("Middle Mass") to spare ominous dirges ("An Older Lover").  The highlight might actually be "Leave the Capital" which is a sneak preview of the upcoming pop-Fall era. The song/play experiment, "Prole Art Threat" is also surprisingly great for it's eccentric structure. 

I really don't have a ton to say about this. It's a fun miniature. Like a well-shaken snowglobe filled with soot. It's the classic line-up (only Brix is the final, missing ingredient at this point), with Marc Riley and Craig Scanlon scratching up a storm on their guitars, the Hanleys tearing shit up on the rhythm section and of course Mark E Smith honking it up over all the madness. A super distinctive sound running at peak efficiency...

Here's " Leave the Capitol" by The Fall...Enjoy...

The Fall: Grotesque (After the Gramme)

The Fall: Grotesque (After the Gramme)

1980

Castle Records

Format I Own it on: Compact Disc

Track Listing: 1. Pay Your Rates  2. English Scheme  3. New Face in Hell  4. C'n'C-S Mithering  5. The Container Drivers  6. Impression of J. Temperance  7. In the Park  8. W.M.C. – Blob 59  9. Gramme Friday  10. The N.W.R.A.  11. How I Wrote 'Elastic Man  12. City Hobgoblins  13. Totally Wired  14. Putta Block  15. Self Interview


As much as I appreciate and love Mark E Smith's more recent, incoherent, drunken, insane, babbling work there's just no way around the fact that once upon a time Mark E Smith was one of the finest lyricists of all-time (come to think of it, he still might be, but not because he's honed his skills or even came close to maintaining his craft. It more has to do with how little everyone tries these days).  And "Grotesque" contains at least two of his most epic, lyrical masterpieces, in the form of "C'n'C-S Mithering" and "The N.W.R.A."

"C'n'C-S Mithering"  is a cranky, exhausted, hilarious look at the Fall's chosen profession (played on a slightly out of tune acoustic guitar). He takes us from a dance party in a Cash N' Carry to the California offices of "Big A&M Herb." The most amusing bits (to me) are his well-worded takedowns of the British new wave bands making it in the US at the time:

"All the English groups act like peasants with free milk, 
On a route to the loot, 
 To candy mountain, 
 Five wacky English proletariat idiots...

You think you've got it bad with thin ties, 
Miserable songs synthesized, or circles with 'A' in the middle, 
Make joke records, hang out with Gary Bushell, 
Go on Roundtable: "I like your single," 
(dopey Voice) "Yeah, great!" 
A circle of low IQ's. '
There are three rules of audience. 
My journalist acquaintances, go soft, go places, 
On record company expenses. 
 I lose humor, manners become bog writers, don't know it. 
The smart hedonists, 
same as last verse, allusions with H in electronics, 
on stage false histrionics, 
Dogs mauling dicks, 
pose through a good film..."

This is  also where Mark E Smith tackles the Johnny Rotten comparisons. Just all around brilliant if you're a close listener. If you're more casual with your music listening the song probably won't register at all (until that ferocious snare roll into "Containment Drivers" blasts your head off). 

And "The N.W.R.A" would probably make a bit more sense to me if I wasn't a yank (I yank it often, in fact), but I love the slightly apocalyptic vibe of tossed bricks and  toppled governments. And the callbacks to other Fall songs are intriguing fun ("Junior Choice played one morning. The song was 'English Scheme.' Mine. They'd changed it with a grand piano and turned It into a love song. How they did it I don't know. DJs had worsened since the rising. Elaborating on nothing in praise of The track with words they could hardly pronounce, in telephone voices."). 

Lots of other goodies here too. "English Scheme" is great dinky-keyboard driven pop, "New Face in Hell" invents Pavement.  And most fascinating is possibly "Impression of J. Temperance," which is another horror epic in the mold of "Spector Vs Rector" except waaaayyy more unnerving. As a creepy  bassline crawls out of the speakers Mark tells the story of a guy who impregnates his dog and everybody watches in horror as a human/puppy hybrid is born (at least that's what I get out of the song).   

Fantastic album. One of their best, I think. It's where the band's signature sound comes together. A sort of bass-driven amphetamine rockabilly with scratchedy guitars and Mark E Smtih's honking sing/speak-a. Addictive as hell once you're accustomed to it. Be sure to snag the copy that has the "How I Wrote Elastic Man" and "Totally Wired" singles, since they contain some of the album's best tracks. "Totally Wired" is a complete classic and should have resulted in the Fall playing stadiums to throngs of adoring fans (which I'm sure Mark would immediately alienate) and "Putta Block" is catchy and melancholy and wonderful. 

Let's listen to some music. Here's "English Scheme" by the Fall...Enjoy...

The Fall : It's The New Thing! The Step Forward Years

The Fall : It's The New Thing! The Step Forward Years

Castle Music

2003

Format I Own it on: Compact Disc

Track Listing: 1. Psycho Mafia  2. Repetition  3. It's The New Thing!  4. Frightened  5. Crap Rap 2 - Like To Blow  6. Rebellious Jukebox  7. No Christmas For John Quays  8. Industrial Estate  9. Futures And Pasts  10. Music Scene  11. Rowche Rumble  12. Psykick Dancehall  13. Flat Of Angles  14. Dice Man  15. Before The Moon Falls  16. Muzorewi's Daughter  17. Choc-Stock  18. Spectre Vs Rector  19. Second Dark Age  20. Fiery Jack

Despite the large number of Fall releases clogging up my shelves, I really only have a small portion of what the band put out, so to major league Fall fans, this run of Fall posts is going to be laughably incomplete. I'm missing some major classics, for sure. This can be blamed for my preference for finding music "in the wild." I really don't order music online. I prefer to haunt used record stores, etc. and the Fall have released a staggering amount of music and a lot of it just kinda goes in and out of print. So I don't intend this to be some in-depth overview of the band's oeuvre, it's just me continuing to listen to my record collection in alphabetical order and kinda outlining my random thoughts on each...

This is a compilation of the band's earliest material and my introduction to the Fall. You'll find that the band's sound and worldview was mostly in place from the start...

It starts off with a 2/3rds of their debut EP, "Bing Master's Break Out!" "Psycho Mafia" is a high-energy introduction to the band. Sloppy, slightly out of tune, the keyboards sound like a child's toy and over it all is bandleader (the man who is the Fall) Mark E Smith who sounds like a Manc Johnny Rotten. Y'see, Mark picked up Rotten's occasional vocal tic of adding an "a" to the end of the line and ran with it further than anyone could possibly imagine.

Imagine the guy-a on the pizza box-a! "Want to buy a pizz-a?!" That's the only way I can describe Mark's vocal tic. Oh, and he usually sounds positively gin-soaked and maniacal. Less gin-soaked on these early releases but you still get the whiff. So this is dingy, wired, trash-strewn post-punk. The key track here is "Repetition" where Mark accurately outlines the strategy that will serve the band to this very day, "This is the three R's! Repetition, Repetition, Repetition..." while the band drones on endlessly behind him in a slightly carnivalesque manner.  On paper, repetition and droning sound like tedious enterprises, but the Fall turn it into an exhilarating experience. They love the rut. The endless variations that inevitably arrive when you walk in the same circle for eons. Staring into infinity. 

We also have the a-side of their "1979" single "It's the New Thing," which is a great example of early Fall (and oh my god! Is that Mark E Smith smiling on the cover? With a full set of teeth?!?!) A bit more straight-punk energy rather than the rockabilly-influenced drone of their classic sound. Reveling in dissonance, yet with an anthemic energy they would eventually largely abandon.

This is followed by the bulk of the band's first full-length album "Live at the Witch Trials." It's missing three tracks ("Mother-Sister!," Underground Medecin" and "Two Steps Back"). "Live at the Witch Trials" is a straight-up classic post-punk album. Deep, bone-dry grooves with Mark unreeling his chants and rants against the apocalyptic backdrop. Endless, dreariness. Grey factories belching soot into overcast skies. The speed-induced paranoia outlined in "Frightened" is almost too much to take:

"Someone's always on my tracks,
In a dark room you see more than you think.
I'm out of my place, got to get back,
I sweated a lot, you could feel the violence.
I've got shears pointed straight at my chest,
And time moves slow when you count it.
I'm better than them, and I think I'm the best,
But I'll appear at midnight when the films close..."

"Frightened" is one of my all-time favorite Fall tracks. It so nails its misanthropic vibe so squarely that if you're in the right antisocial mindset, it can make your eyeballs bulge as you listen to it. "Rebellious Jukebox" is another favorite. The Fall in early-punk mode delivering another shambolic statement of purpose. One of my favorite 70's punk tracks.  I also feel the need to give a shout out to "Industrial Estates" which is one of the signature early Fall songs, capturing the grimy, smoke-shrouded adrenelin rush.

"ROWCHE! RUMBLE! IT'S VALI-UM! KSSH! KSSH! VALI-UM! KSSH! KSSH!" Love this song. Gets stuck in my head all the time. Almost as addictive as VAL-IUM! KSSH! KSSH! VAL-IUM! KSSH! KSSH!

Up next is the bulk of the Fall's 2nd album, "Dragnet," which has a really fascinating sound that might be off-putting at first. I can only describe the album as being enveloped in a dry fog. A chalky murk. The straight-forward punk elements are downplayed as the band settles into a scratchy, bass-driven lurch on tracks like "Psykick Dancehall" and "Flat of Angles." Big ups for including the lengthy, haunted epic "Spector Vs Rector." I also have a soft spot for the catchy pop(?) of "Diceman" and "Choc-Stock," the latter of which could be described as a children's song(!).  I don't know what Choc-Stock is, but it makes me hungry (Fats! You're always hungry!).

The comp closes with two tracks from the fan-fucking-tastic "Fiery Jack" single, which is about Jack in the Box's latest jalapeno cheeseburger...

Nah, it's not about a hamburger...I'm just joking...I actually have no idea what it's about. All I know is it's a grooving, circus/rockabilly chugger. It spins its wheels for 6 glorious minutes and it still seems too short. I want this to last forever...

I'm calling this a fine introduction to the early Fall. The only problem is its comprehensive-ness has caused me to skip buying "Live at the Witch Trials" and "Dragnet." It's hard for me to fork over big bucks for a fancy reissue when I'd only be gaining three tracks. The Fall are an acquired taste and it did take me a few listens for the band's sound to sink in (and I was a seasoned punk listener when I got into this band) but eventually my brain re-wired itself (totally wired!) and it wasn't long before I was hopelessly addicted. Some of the band's coolest stuff is on here (those 70's singles are killers) so I'd recommend it once you've thoroughly assimilated punk and want to get a little more adventurous...

Let's listen to some music-a...Here's "Rebellious Jukebox" by the Fall...Enjoy...

Faith No More:Sol Invictus

Faith No More:Sol Invictus

2015

Reclamation/Ipecac Records

Format I Own it on: Compact Disc

Track Listing: 1. Sol Invictus  2. Superhero  3. Sunny Side Up  4. Separation Anxiety  5. Cone of Shame  6. Rise of the Fall  7. Black Friday  8. Motherfucker  9. Matador  10. From the Dead

Oh yea, the band released one album between "King for a Day..." and "Sol Invictus" (1997's "Album of the Year") but I don't own a copy so I won't be covering it at this time. From what I remember it sounded like "King for a Day" with all the fun and energy sucked out of it (shhhhhluck!). I seem to remember enjoying a few songs off of it ("Stripsearch," "She Loves Me Not" and the utterly fantastic "Ashes to Ashes") but that was about it. It felt like a snoozy nod to all those shitty bands that had claimed their sound out from under them, doubling down on the cartoony heaviness but subtracting some of the cleverness.

The band broke up after "Album of the Year" and there seemed to be bad blood between the members. One of those situations where the band members would get prickly whenever asked about a reunion with lots of "it's not going to happen' answers. But then suddenly...it happened! Reunion shows and eventually a new album! And the new album is surprisingly decent!

I don't' know if the band intended it this way or not, but the album sounds very similar to "Album of the Year." But like a good version of that album. Like they took the most embarrassing artifact from their discography and redeemed it. I can't put my finger on it. Lots of shouty metal songs without a lot of mystery but there's a real spirit to it. And I know some fans were disappointed with it, but I love the first single "Motherfucker" and it's probably the best thing here. It walks that fine line that FNM walks so well: Veering between disturbing psychological drama and laugh out loud black comedy.

Mike Patton utilizes his higher register less than ever, relying more on his creepier lower voice, which was originally a hindrance to some songs that seem like they might have been better without it ("Sunny Side Up" would have benefited from a little lightness). Still it gives the album a certain consistent feel. I guess consistent is the keyword here. No wacky genre experiments (although, I for one have always loved the wacky genre experiments!) and just a commitment to flat-ass rocking and moody dirges. Is it their best album? Hell, no. I put it at the bottom of the FNM discography, just a rung above "Album of the Year." But there's a lot of play between "The Real Thing" and "Album of the Year." So even if I rank it 2nd to last in their discography, it's much closer to the fantastic "The Real Thing." if that makes sense.

Here's a chart to clarify:

1. Angel Dust
2. Introduce Yourself
3. King For a Day...Fool For a Lifetime (I've revised my opinion of this album after I listened to them all in a row. Previously, I would have ranked this album lower than "We Care A Lot" but "We Care A Lot" has a lot more filler than "King For a Day"despite having way less songs.  A highlight reel of both albums would leave "We Care A Lot" as a mini-album whereas a pruning of the overlong "King For a Day" would still be a full-length album.)
4. We Care a Lot
5.The Real Thing
6. Sol Invictus

(a
n
d

w
a
y

d
o
w
n
.
.
.

7. Album of the Year

Alright. Enough ranking shit. Let's listen to some music. Here's "Superhero" by Faith No More. Enjoy...