This Week in Discover Weekly: 24.04.16

Just how powerful is Spotify’s all conquering algorithm? How accurate is it in guessing a person’s music taste?

In ‘This Week in Discover Weekly’, I attempt to find out. I’ll listen to my Spotify Discover Weekly playlist and offer first impressions on each track in a line or so. I’ll then make a decision as to whether to KEEP in ‘Songs’ or DISCARD.  The ratio of KEEP to DISCARD will give the playlist a score and that’s about a scientific as it gets. 

Your call is very important to Mark McGuire, please enjoy The Naacals while you wait. DISCARD

Didn’t I have this Darondo track on my Discover Weekly a few weeks back? Yes, and a few weeks before that. It remains excellent. KEEP

Jamaican Queens are probably hoping that some ‘edgy’ synth noises and a line about not wanting to ‘go down on her’ will distract from the fact that Water is a cutesy little crock of gimmicky shit. DISCARD

Not knowing much of The Brian Jonestown Massacre outside of what I heard on the mighty fine documentary Dig, (I Love You David Bowie) Since I Was Six is a surprisingly tender, ramshackle effort that has successfully calemed me after how much I hated that Jamaican Queens track. KEEP

While I’d probably enjoy it if it was on the soundtrack to something, it’s doubtful that I would ever seek out Galaxy 500‘s Strange. DISCARD

Jacco Gardener’s Grey Lanes might have soundtracked a Lynx advert had it come out  in 2003. As it stands, it’s more likely to appear mid-morning on BBC 6 Music. DISCARD

Miracle Legion front man Mark Mulcahy gets a life time pass for making the music for ‘The Adventures of Pete and Pete’ under the Polaris moniker. So All For The Best could be a couple of minutes of fart noises and I’d probably KEEP it. It isn’t that.

Documenta’s Love As A Ghost opens with the distant, distorted screeches of Loveless-era My Bloody Valentine before morphing into some delightfully hazy dream pop. It’s not new, but considering the gap between Loveless (1991) and mbv (2013), and the likelihood of Kevin Shields and co. turning out another album any time soon, you’ve got to take this kind of stuff where you can get it. KEEP

Were it not for a vocal performance that I can only describe as ‘needlessley snotty’, Icarus Himself ‘s Digging Holes would be ok. As it stands, it isn’t. DISCARD

EL VY sound very much like a side-project on I’m the Man to Be. Or U2 when Bono was going on about being a Fly. Utter horseshit. DISCARD

Several Shades of Green  is a song by Wreckless Eric that I did not enjoy, despite its Velvet Underground chug. DISCARD

I’m straight up crazy about Dog Bite‘s Forever, Until. It’s murky and wistful and covered in a very fine fuzz. A nailed on KEEP

If R. Stevie Moore and Ariel Pink collaborating on a track sounds like a great idea, then good news! It’s more than an idea… it’s a whole album apparently. Another No Answer is what the ‘demo’ button would sound like on all Casio keyboards if I were to ever gain creative control of the keyboard arm of the Casio corporation. KEEP

On Mark Kozelek’s War on Drugs diss track ‘War on Drugs Suck My Cock’ he writes of the band:

I heard them do their soundcheck; next to The Byrds
They’re definitely the whitest band I’ve ever fucking heard

I often worry that this is the whitest blog I’ve ever read, so Taking The Farm should fit right in here. It doesn’t quite. DISCARD

Larry Gus‘s The Sun Describes has an air of The Postal Service mixed with The Avelanches. It’s ok but I’m not going to be in a hurry to listen again all that soon. DISCARD

The Other Side of Mt. Heart Attack starts slowly, continues slowly and ends slowly. Nothing wrong with that, but I’ve forgotten it already. DISCARD

Bedroom’s We All Need Something has that loose twangy guitar sound that you hear on The Microphones’ album ‘The Glow Pt. 2’ – the one that sounds like a guitar that’s been pulled out of the back of a wardrobe and has never had its strings changed because who needs that hassle. KEEP

Can’t quite put my finger on what it is, but there’s a touch of The Dandy Warhols about Gap Dream’s 58th Street and that’s not something I find it easy to get on board with. That said, this isn’t bad. DISCARD

Pumarosa’s Princess sounds a bit 2011 and there’s something off-putting about the way this guy hits the ‘d’ in the word ‘dance’. In fact the more I listen, the more obnoxious it gets. DISCARD

I Don’t Mind by Psychic Ills is so completely listless that it’s sucked all the energy out of me. DISCARD

I’ve lost track of Tamaryn in recent years having enjoyed their 2012 album ‘Tender New Signs’ a fair bit. So it’s nice to hear Cranekiss and its Coteau Twins-esque shimmer. KEEP

The Chills’ Pink Frost is pretty good and I feel like I’ve heard it before. KEEP

Electrelane’s Birds is the lo-est of fis for much of its 4 minute run-time, picks up for the last 30 seconds and then judders to a close. Likeably glum. KEEP

Glenn Jones churns out really beautiful, delicate guitar and banjo instrumentals on albums adorned with knowingly-twee paintings of animals playing guitars and banjos on the front. Flower Turned Inside Out might not blow anyone’s mind, but Christ, does everything have to? KEEP

The Bats’ Made Up in Blue mark the second appearance of a band from New Zealand on this week’s DW (The first being The Chills). Proof, if it was needed, that New Zealand isn’t all toothbrush fence and Lord of the Rings. KEEP 

Life Without Buildings do that Life Without Buildings Thing “Spoken… Spoken… Spoken Spoken… Spoken Word. Spoken Word Spoken Word! The verse is Spoken Word.. Spoken words on the verse! … Spoken Spoken etc”) on New Town. I kind of feel like I can get by without it. DISCARD

The She Devils have put a lot of effort into making Where There’s No One sound like it’s playing on vinyl, but this results in the song falling into a ‘faux-vinyl uncanny valley’ from which it would appear there is no escape. DISCARD

Warpaint’s cover of Bowie’s Ashes to Ashes is really fucking good, giving the original a stuttering drumbeat that’s Interpol-esque in its nervy restlessness. It manages to change enough to be worthwhile, but stay respectful to an absolute jam. KEEP

From the sound of No Fear of Helfire, I’d say I like Nap Eyes. While I’m keen to prove that my frame of reference is wide enough that I don’t have to bring everything back to ‘It sounds like Yo La Tengo’, it does a bit. KEEP

Darker My Love’s Backseat is impossibly jaunty and pleased with itself. I am not as pleased with it. DISCARD

14 out of 30


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