Spiderland

I had never heard of this album before today, though the album cover looks vaguely familiar. It has that strange "more than the sum of its parts" feeling that a lot of great albums that come out of nowhere have. It certainly presages a lot of the music that will come after it. A lot of what made Slanted and Enchanted feel unique is also present here. It develops so slowly, appropriately like a spider crawling across the wall. The lyrics are dark, but not maudlin. Nothing feels overdone. There's this tension that hangs over the album that, like most aspects of this album, is very hard to define. Halfway through, it feels like the album is just getting started. When it ends, I feel like there should be so much more, but I'm not disappointed. Timeless. 5/5

I’ve listened to it twice and I still have no idea if I like it or not.

The musical equivalent of a snuff film.

Oh, man. The sound of this album sends me way back. I was in an indie band once and the main guitarist absolutely LOVED this album which had a huge impact on the songs he wrote. Weird time signatures, amusical vocals, mid-song shifts in tone... all so familiar. David used the word "pretentious" to describe this album and it's 100% on point. While that band stretched me musically, I didn't actually enjoy the music we made. Nor do I enjoy this album. It almost got 2 stars anyway because the punk roots are strong... but every song is AT LEAST a minute too long and I can't abide bands who don't know when to shut up.

I feel like there is music that music theorists love that I just don’t get and this album is it.

I love this album. It's so bizarre, even a little creepy at times with the unsettling atmosphere created by the spoken word lyrics and off-kilter melodies, but it's an amazing experience overall. The quiet-loud dynamics carry such a powerful punch, my favourite example being in 'Good Morning, Captain'.

boooooringgggggg. i understand why people have a cult following around this album and understand why i usually want to make fun of those people. This album is giving me sonic blue balls, all these build ups for either a weak payoff or no payoff at all.

If Slint's debut, 1989's Tweez, was one of the earliest salvos in what came to be known as post-rock, their second album, 1991's Spiderland was where the band pushed their most radical ideas forward and created a touchstone, working with dynamics that made the silences every bit as much presence as the guitars and drums, manipulating space and time as they stretched out and juggled time signatures, and conjuring melodies that were as sparse and fragmented as they were beautiful.

Truth be told, I wasn't really feeling Slint's vocalist at first; he came off like if the dude from Cake needed someone to talk to. He eventually won me over big time, though, because as the album went on I found his intense, expository drone to be a fitting companion to the music and a crucial piece of the simmering tension that builds up through the entirety of the album. There's a thick layer of unease found all throughout Spiderland, and it pays off in spades, as the most cathartic moment in any of the music this website's thrown my way so far is easily the incredible closing minute of Good Morning, Captain, where everything finally boils over. There are tracks on here that I wouldn't really listen to on their own, but I see myself listening to Spiderland start-to-finish plenty more times in the future. Key Tracks: Breadcrumb Trail, Don, Aman, Good Morning, Captain

This gives me anxiety

They're like a grungier american radiohead -- almost touching on this this mythical 'chatterfolk' genre I tried to invent. This album (and band) is amazing - reminds me of getting stoned in high school late at night and watching skate videos and shitposting on Slap Magazine's forums.

Highly influential post rock. Filled with tension and proper moody. Just brilliant!

Post-hardcore was already a highly experimental genre that took an artsy turn to the abrasiveness and emotional power and intensity of hardcore. And here, Slint takes it so much further. Not just post-hardcore, and not just noise rock (you could hear a lot of Sonic Youth). Really, it goes back to the poetic nature of Velvet Underground. They tell creepy surreal stories that evoke unsettling imagery and matching emotions. And how do they do this? The vocalist swaps between three vocal styles: spoken word, singing, and screaming. The melodies are often simple and quiet when he speaks in spoken word, allowing the audience to pay close attention to what's going on, while the screaming is shrouded by distortion and chaos, but relies on repeated simple lyrics to shift the audience's focus onto the combination effect. This record only has 6 songs, and each one leaves a mark. Even the instrumental "For Dinner..." near the end serves the purpose of reflecting on the record thus far, allowing the audience to analyze the strange melodic characteristics, and prepares them for the climatic finale. Each song tells a powerful story, and I'd immediately recognize each one if you gave them to me on random. It's an original sounding record that has influenced post-rock, emo, and math rock to come, but yet nothing that came after could ever top its folky vibe, thus allowing this record to stay fresh to this day.

Took me about a year of monthly visits to Piccadilly Records in Manchester to finally snag this CD, and was initially disappointed that they didn’t sound like Sonic Youth. I can’t remember whether it was during the third or fourth listen in a row when I fell in love with it, and over that summer it became my favourite album. (Displacing Daydream Nation, arf.)

SPIDERLAND is one of those albums that’s been with me for so long it’s like it’s woven itself into my musical DNA (and maybe even my sense of self). It’s hard for me to review objectively, and I’m not even really going to try. While some of the lyrics are (as noted by at least one other reviewer here) kinda cringeworthy, so much of the album of so good - the soft-loud dynamics, the use of interesting time signatures, the energy at the album’s high points - that I’m more than willing to give them a pass.

A very unique album, its sounds as if it was from the 2000s, not from 1990 - it was way ahead of its time. It's dark, haunting, something different than I have ever heard before. It's more than an album - it is an experience.

This album was fantastic. Moody, beautiful, unsettling compositions, evocative of early Black Sabbath and Sonic Youth. There is a tension to this sound you could cut with a knife, a sense of real foreboding lurking in every song. The subject matter of the songs speaks a great deal of alienation, social awkwardness, despair. "Nosferatu Man" seems a little out of place thematically, but most of the other characters feel very grounded in reality and emotionally authentic. It's a shame the band didn't create more music after this. Favorite songs: Breadcrumb Trail; Don, Aman; Good Morning, Captain

Thought this was going to be too weird on the first listen through, but actually it's the right amount of weird.

I really don't like looking at the cover. These guys make me nervous. I don't trust 'em for some reason. I really didn't like this the first time through and liked it even less the second time through. Couldn't really distinguish from track to track, lyrics are more speaky and shouty than singy, nothing really to grab onto. But I kind of got into the groove of it the third time through and really enjoyed Breadcrumb Trail, Washer, and Good Morning, Captain. If I were a different person, I can imagine listening to this late at night in a low-key hang with friends. But my friends and I are old and that would be past our bedtimes.

(if you skip track 1) it's Stylishly made music of seething perfectionism. Akin to listening to eloquently phrased pain, there are some very atmospheric moments, with "Washer" we get a taste of something a bit more cinematic, with building a menacing undertone, oh yes the foreboding is rising, especially if you listen to the lyrics .... It's an 8 minute track. The kind of music a pensive serial killer might unwind and do the dishes to. I admire the art, but in the end, I dislike it.

If any record deserved to be in this list it’s Spiderland. A record that has inspired so many, growing into a cult classic and an essential album for any collection. Best played on a late autumnal night in darkness. Find their version of Cortez the Killer on the deluxe edition and you’ll know where they got their groove.

what a treat, haven't heard this in ages. a classic of the '90s, I was surprised to see it came out in 1991, seemed much more recent, probably a reflection of its later influence. The guitars and drums tie together so intricately, this is basically the indie Marquee Moon. Breadcrumb Trail and Washer are highlights but it's all incredible. The former reminds me of Galaxie 500 at their best (mild praise but accurate). I believe Mark likes this too

I've heard this once or twice in the past, but it was good to give it a couple of listens with more attention. Super influential on a bunch of the genres that make up post-rock, you gotta love that quite/LOUD dynamic. I was already thinking 4 stars, but an extra listen or two, including all the demos, has pushed me up to 5. Fave track - maybe "Don, Aman", maybe "Good Morning, Captain". Kinda feel like I want to listen to this album while reading the lyrics, which is not something I experience very often!

Really like their combination of spoken word and singing and the quiet loud dynamics.

Spiderland I’m sure I’ve heard the name Slint mentioned before, but I didn’t really have any preconceptions before listening, apart from remembering they might be a grunge/alt rock band judging from the name, and year of release. While it has the feel of early 90s US alt rock I found this far more interesting and engrossing than a lot of that music. The tempo, guitar sound, sparseness, and repeating, mesmeric grooves and riffs are musically and emotionally much more satisfying and resonant than many of their peers. There’s a bit of Neil Young/Crazy Horse, a bit of Sonic Youth, and you can hear Steve Albini’s production style clearly, but it feels apart and separate. It’s drums, bass, guitar and vocals but it has a distinct feel and atmosphere; tense, eerie and reserved, but also confident and assured, it’s pretty unique. Aside from the guitar tone I love the drumming, it’s got a slight Can and Dub feel to it, it’s slightly spacey and untethered, but also hits some great grooves alongside the guitars. And I like how the alternating spoken word and singing helps give it’s own character too, without the stereotypical US rock voice of the period. After the first listen I wasn’t expecting to end up liking this as much as I did, it’s very hypnotic, and I was very happy to let it run on repeat, the swirling and narcotic atmosphere washing over me. I’m certain this will improve with more listens and it’s almost a 5, but I’ll go 4. 🕷️🕷️🕷️🕷️ Playlist submission: Washer

Well! This one takes you on a ride. Basically poems, spoken more than sung, with low-key (until it suddenly isn’t) music in the background. But the poems tell stories that are haunting. Don Aman is the standout track for me in this aspect. It sneaks up on you .. At the first song I was thinking “oh come on what is this and why did it make the list?”. (The first song is badly placed in my opinion). By the end I was thinking, huh this is really interesting, although I’m not going to go as far as to say enjoyable. Just submit to it, and let yourself sink into the tension. The last two songs really being the whole thing to fruition. I’m sure it will be polarizing- it sticks to is own style the whole way through, so people are going to love it or hate it I imagine. But it didn’t sound like anything else, that’s for sure. (PS if you're a filmmaker and are looking for background music for a creepy suspenseful western scene, the song “For Dinner” is here waiting for you.)

Unquestionably influential and starkly minimalistic.

Re-listen. I think this album is really interesting, although “Breadcrumb Trail” and “Good Morning, Captain” are the only songs I really listen to outside of it.

Such dark atmosphere while also feeling so raw is incredible. I see why this didn't hit and why it has grown into a phenomena since then.

The first time I became aware of Slint was in the late 1990s. My housemate at the time was sleeping with the editor of a sadly departed TV listings magazine, and after coming back from London where they'd engaged in a threesome with a relatively well known television pundit, one of the pairing was wearing a Slint tshirt. I remember this very well, because the format of the text spelling "slint" coupled with the folds of the fabric to make the "sli" very much look like a "cu". I thought this was a particularly splendid tshirt to be worn by anyone, the editor of a sadly defunct TV listings magazine. The Slint tshirt went on to make many appearances at my house. One evening was spent in deep analysis of the film "Nightbreed" - written by Clive Barker and based on his short novella, "Cabal". Cabal has a very fond place in my heart, as me and my friend Gareth were thrown out of English class, aged 11, for laughing so much at the sex scene between Lori and Boone. Of course, I'm pretty sure that Clive Barker, a gay man, would be delighted to know that his heterosexual sex scenes were a source of such amusement to two pre-teenage boys in 1991, but we laughed and laughed and laughed. Anyway. Yes. So I've known about Slint for over 20 years, however this is the first time I've actually heard them. They're OK.

I had never heard Spiderland and on first listen it seems a pretentious affair - especially the iTunes version with 15 minutes of field noises from the quarry the cover image was taken at - but it starts to grow on you with repeated listens as a moody, dramatic, menacing soundscape. There’s no real theme, the lyrics offer us no clue, the spoken word isn’t even poetry and yet there’s something compelling here. What the band were done playing these proto-Radiohead/Mogwai tracks in 1991 is anyone’s guess. Four stars for now but I could see it getting five with repeated listens.

This album taught me calculus.

So I really enjoyed “Spiderland” by The Slints… Had never heard of them, nor any of their songs – but was pleasantly surprised… The highlight of the album is the hypnotic, heavy instrumental compositions – and while there isn’t much diversity throughout the album – what they do, they do incredibly well… Unfortunately, from a vocals perspective – there really aren’t any to speak of… Oh there are lyrics throughout the album – mainly a low-level spoken word kinda thing, with an occasional attempt at singing, but really not even passable… You could argue that it was “their sound or style”, but any objective review would call it like it is – dreadful… Would have been really interesting to hear those tracks with a competent rock vocalist who could have really done something with it… The other complaint, was that the audio quality sounded like the recordings of the band that I was in while in college calked “The Edge” (i.e. No – there are none of our albums on this list, and yes – we had our name before U2 blew up and their guitar player stole our name – but I digress… : ) Oh it’s fine, but it’s pretty raw – and maybe that was intentional, but the drums sounded just like mine did when mic’d up and recorded in the early-80’s… : ) By far, the best track on the album IMO, was “The Washer” – with “Good Morning – Captain” a distant 2nd… Never would have heard this without the 1,001… Would probably give it a 2.75 if I could, but their originality, and heavy sound has got me feeling generous – so a 3 it is…

uhhhhhhhh. This is very much Dan Hart music. roomy, heavy, weird. Don, Aman is a great, unnerving ride of a song. Good Morning, Captain feels so weird and strange. like walking through swamps with muddy boots

Who is this for

Not a fan, the best portions of songs sound like what I image Tool would’ve sounded like when they were in elementary school ….

This isn't as interesting as some suggest. It's also pretty far from music most would qualify as listenable. But I listened to the entire thing in full just to see if something would jump out at me and not be, you know, annoying. Whatever. This is MY journey.

What a great album.

This album has a dark, minimalist atmosphere with a weighty, almost eerie feel. The post-hardcore influence comes through in the sharp, tense guitar work, while the spoken word vocals add to its unsettling mood. While it has bursts of intensity, the album moves at a slow, deliberate pace, drawing you in with its brooding, immersive sound.

Fantastic record

91/100. Spiderland by Slint is a fantastic and hauntingly unique record. The incredible production brings out every subtle detail, making the album feel both soothing and deeply unsettling. Its horrifying, eerie atmosphere paired with spoken-word delivery and quiet-loud dynamics creates an unforgettable listening experience.

I've never heard of the band or the album. There were some exciting parts on the album. But overall, I wasn't that interested in the music. Maybe I'll have to give the album a second chance. But then it's no longer first class. It actually needed a 2nd chance. Then I liked the album so much that I wanted to listen to it a 3rd time. The album is pretty good. I'll be listening to it more often. and so the album qualifies as a 5/5

Me encanta, y me jode no saber explicar exactamente por qué. Musicalmente es súper disonante, abstracto, y puede que pretencioso. No es el tipo de álbum que me suele gustar, aunque pueda apreciarlo desde el punto de vista técnico. Sin embargo, tiene una atmósfera que me atrapa. Las melodías (cuando las hay) no terminan de resolverse, sin que llegue a ser algo incómodo. Más bien, mantienen un clima tenso a la par que minimalista, que encaja perfectamente con la voz hablada y los gritos que se van entrelazando. Los cambios dinámicos y la experimentación rítmica en general del álbum están adelantados a su tiempo, y serían de una influencia enorme en el post-rock incluso una década más tarde. Una experiencia única.

This album is revolutionary and it really holds up.

Shaking and crying right now. Punching the air with a glee heretofore unknown to man nor beast. And I’ve seen some gleeful beasts. Like a walrus that has a fresh bucket of mackerel places in his enclosure, I am prepared to be satiated and given the life force I need to continue my week. Full disclosure, I have been listening to this album repetitively for a week or two. I imagined that it would show up here at some point, but what are the odds? I begin in the rare place of knowing exactly what I’m in for, and brother, I can’t wait. How’s the water gentlemen? Watch me dive! I’m learning that this song sounds so interesting, mainly because of the time signature. I don’t understand time signatures as I feel as though I can make anything fit into any time signature. I am musically illiterate. Take that as you will. The odd instrumentation and the heaving, metallic refrain absolutely kills. The frankly spoken vocals are excellent. If you can’t sing softly, don’t. Use your unique voice. A masterclass in doing just that. From the opening creep, Nosferatu Man creates an urgent atmosphere that feels like it’s climbing the walls of a mental hospital. I know that asylums were somehow involved with this albums release, and while that adds to the mystique, this song conjures that sickening, straitjacketed feeling without prior knowledge. Anxious, angsty, and still a heavy emphasis on, well, being heavy. Clawing at the padded walls, drunk on plasma. Initially, this was the song that I didn’t quite get. I now find myself increasing captivated by the lyrics, and the quiet moments of the record. This is an extended quiet moment. Almost hymn like, but highly relatable from a lyrical standpoint. I discover more of this album on each successive listen. Heart-wrenching. Elegant. Simultaneously breathing the air of the paradise while choking on the fetid smoke of misery. This melody. This emotion. Very little is touching this on any level. Even to this day. A song that resonates with me so deeply, it’s hard to move on. Close with a roof shattering fuzz. One of the great songs I’ve ever heard. For Dinner? A live Giraffe. Your utensil of choice? A pool noodle. Best of luck to you. Oh? You are unable to eat the live giraffe? Well. How the tables have turned. For too long you have tormented the giraffes of this world. From the Toys R Us guy to the lowliest of giraffes (Cincinnati Zoo), the revenge shall be sweet. I can only hope somebody reads this who had a complicated relationship with a giraffe. Now that’s a crossover. This song is an interlude in my eyes. It still perpetuates the atmosphere, and despite my ramblings, I am certainly not bored. Another pretty song. More evil creeping music. Anxiety affirming naval music. I mean what more could a boy ask for? Storytelling, uniqueness, excellent musicianship, atmosphere. Another cool one. I don’t know if it’s the album cover or some guitar tone, or both, but this album creates an atmosphere of blackness. Total darkness. Leonard Cohen told me that I “wanted it darker” yesterday. Well buddy, he was right. Perma-midnight has fallen upon us, and borne unto this world is an album that speaks quietly, yet envelopes everything it touches. Dark and brooding, yet somehow hopeful. A beautiful piece of music from the moment it begins to the moment the final lamentation leaves my headphones. I have become ensnared in the webs of this Spiderland until ultimately released from this mortal coil. Ending this album is like being awoken from the peace of eternal rest. Somebody turn down the lights and play it again. 5 HIGHLIGHTS: Breadcrumb Trail, Nosferatu Man, Washer, Good Morning, Captain

This album was an interesting listen, and I found myself playing it on repeat a few times. This album has a dark, minimalist atmosphere with a weighty, almost eerie feel. The post-hardcore influence comes through in the sharp, tense guitar work, while the spoken word vocals add to its unsettling mood. While it has bursts of intensity, the album moves at a slow, deliberate pace, drawing you in with its brooding, immersive sound.

I love this album. Is it Alt-Rock, Post-Rock, Shoegaze, Post-Hardcore, Math Rock, or Indie Rock? Yes. All of it. The phrase "slow burn" is horribly overused, but is entirely appropriate here. The final screaming words of "Good Morning Captain" erupt to close the record like a fire extinguisher, a cathartic release from the tension created by the music leading up to it. "Ten fucking stars." -Steve Albini

I'd never really considered the influences that Slint had when putting this album together, always being more interested in the bands that had been influence by this seminal album. With a little effort, I guess I can see some Sonic Youth here, also Television, Crazy Horse, and even a little bit of King Crimson. The similarity to Crazy Horse is an interesting one. I'd never heard Slint's cover of Cortez the Killer until today, and it's very faithful to the original by Neil Young (and Crazy Horse). Anyway, this is one of my favourite albums of all time, so it was going to get 5 stars as soon as I saw the name come up. It really does have a "spidery" sound to it, multiple layers of webs, soft in places, loud in others. Although I've heard this album many, many times, I could never tell you the names of any of the tracks without checking first. For me, it's truly an album where the music starts and ends without needing to worry about what name was given to each individual part.

This was dope. Name a spookier song than “Good Morning, Captain”!!!

One of my favourites; although it's dark and twisted and a little depressing, so I don't listen to it often. It's also noisy and experimental and shouty, so I'd say it's not everyone's cup of tea. However I'd argue that it's one of the most important albums of the 90s, considering it's credited with the birth of the Post-Rock genre. I discovered it in a backwards sort of way, after getting into bands like Godspeed You! Black Emporer, Mogwai, and Sigur Rós in college. It also eventually opened the door to hardcore and post-hardcore punk for me, which I came very late to (almost in my 30s, in the late 2010s). Once I listened to it a few times I could see how influential it was. In fact it's still influencing bands today, like "the world's second-best Slint tribute act", Black Country New Road. I hope the lead singers of both Slint and BCNR got the help they needed.

The first few times I had heard this album, I thought it was okay, but I didn't get the hype. Next time after that, I was liking it more and more, but still not quite understanding it. But now, I get it. This record fucking rocks. Unlike nearly anything I've heard. The guitars are jaw dropping and the mix between softly spoken, singing, and screaming vocals fits just perfectly. I now love this record and I'm glad everything finally clicked for me on this

One of the best albums of all time. I hear it different every listen, noticing a different current within the composition. A totally unique fusion of just everything in dark experimental music applied to a 90s rock setting. Classic for a reason. A+

So good

Buzzing that Spiderland made the list. A true cult classic of a record. Good Morning Captain is the song that I get stuck in my head most in life. I dare say there hasnt been a week gone by over the last 10/15 years since hearing this that that catchy little riff hasnt floated around my head. I’m sure I read somewhere that the singer was sick blood or something like that when screaming the ‘I miss you’ bit at the end. Anyway, a genuinely class mathy / noise record that I do think needs to be listened to by everyone.

hi ffion!!!!

Yes.

One of the best records of the 90s. Post punk, minor key, existential dread loud and soft style. A litmus test for excellent taste.

A masterpiece

A simple album ,but felt very honest and didn't overstay its welcome. Really enjoyed it.

Really loved never heard before

Four teenagers walk into a room with instruments in their hands. A not so atypical scenario when it comes to passing the time and angling towards music glory. But this band was different. They already had an album out, and an EP. They were not successes at the time but at least it was around. This, however, would become seen in later years as a pivotal moment not just for the band, but for independent rock in general as this would be the signpost for a genre that would take shape as post-rock. Slint, as they were then, had no idea about any of that. Six songs, each of them sparse yet epic in their own way. All feeling, no wasted movement. Music for bleary days. Spiderland indeed left behind breadcrumb trails, whether or not it was intended to be followed. Yet the blueprint remains and they never dared to attempt bettering it. It is one of the few records of the last thirty plus years that is deserving of its status as a post-rock, and indie rock, milestone.

This is a pretty special album. It has beautiful melodies, and a sound and a feel that will bring me back to listen to it again and again.

Masterfully crafted, hella influential, and ahead of its time. Engineering sounds fantastic. Creative use of dynamics. Engaging storytelling. Very classic 🤘

"Spiderland" is the second and final studio album by American rock band Slint. Post-rock, post-hardcore and math rock are the Wiki-listed genres. Yeah! The album was engineered by Brian Paulson and recorded over four days. Slint began as a hardcore punk band but for this album "developed a complex, idiosyncratic sound characterized by atypical rhythmic meters, harmonic dissonance and irregular song structures." That sums it up. Slint was Brian McMahan (vocals, guitar), David Pajo (guitar), Brit Walford (drums, vocals, guitar) and Todd Brashear (bass). The album did poorly commercially but gained a cult following. It is considered foundational in the 1990's post-rock and math rock genres and a milestone in indie and experimental rock. "Breadcrumb Trail" opens the album. High-pitched, melodic guitar with a slow drum beat. McMahan talking. The music changes: piercing guitar, heavy drums, McMahan screaming. Another change to guitar with feedback and a slower pace. Then...repeat cycle. It's about a day at a carnival with a fortune teller. "Nosferatu Man" starts with a slow drum beat, low key, screeching guitar. The guitar is actually melodic. The music goes heavy metal hard and then slows down with a hypnotic drum beat. More whispering from McMahan. This is creepy and it should be as it's based on the 1922 silent vampire film of the same name. The album closes with "Good Morning, Captain." A pronounced bass, loud drums and more piercing guitar. Of course, a big change to guitar with feedback then they go soft. Multple tempo changes and they finally end with McMahan taking and screeching and echoing guitars. I'm glad I didn't listened to this album until about 10 to 15 years ago. I'm not sure that I would liked or even noticed it back in 1991. I guess no one else did either. A creepy atmosphere. Dynamic tempo changes. Screeching, piercing and feedback-laced guitars. The music is soft, loud and sometimes even builds. The vocals range from whispering to talking to screaming to actually singing. I'm very glad I did first listen to when I did; I was very open to it and found it curious. Upon repeated listens I really liked it. Now, I find something different every time I listen to it. And no, not for everyone, but those who want some what of challenge, it's definitely worth it.

Ohhhhh fuck yes easy one for me

Post-rock classic. Among my favourites. Slint would be broken up before this album was even released and maybe the transitory nature of Slint added to the legend and mystery. Along with Spirit of Eden Laughing Stock, albums that developed a style and defined a genre.

Arachnophobia friendly, trust me. Favourite Songs: Breadcrumb Trail, Washer, Good Morning, Captain. Least Favourite Songs: For Dinner....

Omy heck, WHO ARE THESE GUYS, minimal and discordant with mumbling, I LOVE THIS AND HATE THAT NO ONE EVER INTRODUCED US BEFORE 5 STARS

If only Slint never broke up, they could have become one of the greatest post rock bands of all time. This is a brilliant album and shows such potential for this band. The atmosphere that is created and the moody spoken word vocals are fantastic, giving this album an almost creepy unsettling feel to it, but in the best way possible. The repetitive guitar riffs are so moody and get stuck in your head so easily, all while the vocals creep in from the background and deliver some amazing storytelling.

A sonic snuff film, in the best possible way. All jokes aside, really good instrumentation, and the meandering spoken word really works.

The most refreshing new thing I've heard on this list in ages. It simultaneously sounds like so many other bands I've enjoyed and yet so unique. Love the musical style, the lyrics and their delivery, perfect use of hard/soft, fast/slow. Wow. How wasn't this album more massive. Kudos list creator for treating me to this. Easily top 5 new finds.

Don stepped outside... Already familiar with this one. 5*

Raw indy. Kinda depressing.

I love this site, yet another album and band that I have never heard of. This is a great band and I really liked what I heard. Top tracker Washer, don't know why it just resonated with me

**Review of "Spiderland" by Slint: An In-Depth Analysis** **Introduction** Released in 1991, "Spiderland" by Slint is often hailed as a seminal work in the post-rock genre. With its intricate guitar work, unconventional song structures, and emotionally raw lyrics, the album has left an indelible mark on music. This review delves into the album’s lyrics, music, production, themes, and influence, assessing its strengths and weaknesses along the way. **Lyrics** "Spiderland" features introspective and often cryptic lyrics that evoke a sense of unease and melancholy. Vocalist Brian McMahan’s delivery ranges from a whisper to an impassioned shout, effectively conveying the emotional depth of the songs. The lyrics often explore themes of isolation, fear, and existential dread. For instance, in "Good Morning, Captain," inspired by Samuel Taylor Coleridge's "The Rime of the Ancient Mariner," McMahan narrates a haunting tale of loss and guilt. Pros: - **Emotional Depth:** The lyrics are profoundly emotional, resonating with listeners on a deep level. - **Imagery:** Vivid imagery and storytelling create a compelling, immersive experience. - **Ambiguity:** The cryptic nature of the lyrics invites various interpretations, engaging listeners further. Cons: - **Accessibility:** The obscure lyrics can be difficult to decipher, potentially alienating some listeners. - **Uniformity:** The consistently dark and introspective tone may not appeal to those seeking variety. **Music** Musically, "Spiderland" is characterized by its dynamic range and intricate compositions. The interplay between David Pajo’s and Brian McMahan’s guitars creates a textured, layered sound. The rhythm section, featuring Britt Walford on drums and Todd Brashear on bass, provides a solid yet flexible foundation, allowing for both tension and release within the songs. The album is noted for its quiet-loud dynamics, a technique that has influenced countless bands. Tracks like "Breadcrumb Trail" and "Washer" exemplify this, starting with delicate, almost fragile melodies that gradually build to powerful crescendos. The band’s precise use of timing and silence is also noteworthy, adding to the suspenseful atmosphere. Pros: - **Innovative Structures:** The unconventional song structures break away from traditional verse-chorus formats, offering a refreshing listening experience. - **Dynamic Range:** The effective use of dynamics enhances the emotional impact of the music. - **Technical Proficiency:** The musicianship is impressive, with each member contributing to the complex arrangements. Cons: - **Repetition:** Some listeners might find the repetitiveness of certain motifs tiresome. - **Pacing:** The deliberate pacing may feel slow to those accustomed to more immediate or upbeat music. **Production** Steve Albini, known for his minimalist and raw production style, engineered "Spiderland." The production is stark, with a live, almost unpolished feel that suits the album’s intimate and intense nature. The use of space and ambience in the recording creates a sense of presence, as if the band is performing in the same room as the listener. The decision to avoid excessive overdubs and studio effects gives the album a raw, honest sound. This approach enhances the emotional authenticity of the performances, capturing the band's dynamic interplay and individual nuances. Pros: - **Authenticity:** The raw production enhances the album’s emotional honesty and intimacy. - **Clarity:** Each instrument is clearly defined, allowing the intricate arrangements to shine. - **Atmosphere:** The use of natural reverb and space contributes to the album’s haunting atmosphere. Cons: - **Polish:** Some may find the production too raw, lacking the polish of more commercially produced albums. - **Balance:** The stark production can sometimes lead to a harsh listening experience, particularly during louder sections. **Themes** "Spiderland" delves into themes of existential dread, isolation, and inner turmoil. The album’s mood is consistently dark, with a pervasive sense of unease and vulnerability. The lyrics often reflect a struggle with identity and the search for meaning in a chaotic world. Tracks like "Don, Aman" and "Washer" explore personal crises and emotional fragility, while "Good Morning, Captain" deals with guilt and loss. The themes are universal, yet the band’s unique approach makes them feel deeply personal. Pros: - **Universality:** The themes resonate with a wide audience, touching on fundamental human experiences. - **Depth:** The exploration of complex emotions and existential questions adds intellectual weight to the album. - **Cohesion:** The consistent themes create a unified, immersive listening experience. Cons: - **Monotony:** The consistently dark themes may feel oppressive or monotonous to some listeners. - **Accessibility:** The heavy, introspective content may not appeal to those looking for lighter or more straightforward music. **Influence** "Spiderland" is often credited with pioneering the post-rock genre, influencing a wide range of artists across various genres. Its impact can be seen in bands like Mogwai, Explosions in the Sky, and Godspeed You! Black Emperor, who adopted and expanded upon Slint’s use of dynamics, atmosphere, and unconventional song structures. The album’s emphasis on mood and texture over traditional songwriting has also left a mark on indie rock and alternative music. Bands such as Radiohead and Sigur Rós have cited "Spiderland" as an influence, integrating similar approaches into their music. Pros: - **Legacy:** The album’s influence on post-rock and beyond is undeniable, shaping the direction of contemporary music. - **Innovation:** "Spiderland" introduced new ways of thinking about song structure and dynamics, pushing musical boundaries. - **Cultural Impact:** The album has achieved a cult status, inspiring a dedicated fan base and numerous cover versions and tributes. Cons: - **Niche Appeal:** Despite its influence, "Spiderland" remains somewhat niche, not achieving mainstream commercial success. - **Overshadowing:** The album’s legacy can sometimes overshadow its individual merits, with its historical significance taking precedence over its musical content. **Conclusion** "Spiderland" by Slint is a landmark album that continues to resonate with listeners and influence musicians decades after its release. Its intricate music, emotionally raw lyrics, and innovative production create a powerful and immersive listening experience. While its dark themes and stark production may not appeal to everyone, the album’s impact on the musical landscape is undeniable. **Pros:** 1. **Emotional Depth and Imagery:** The lyrics are profoundly emotional and rich in vivid imagery, creating a compelling narrative. 2. **Innovative Song Structures:** The unconventional structures and dynamic range offer a refreshing and impactful listening experience. 3. **Raw Production:** The minimalist, raw production enhances the album’s emotional authenticity and intimate atmosphere. 4. **Influential Legacy:** "Spiderland" has significantly influenced the post-rock genre and beyond, shaping contemporary music. **Cons:** 1. **Accessibility:** The obscure lyrics and consistently dark themes may alienate some listeners. 2. **Repetition and Pacing:** The repetitiveness of certain motifs and the deliberate pacing may feel slow or tiresome to some. 3. **Production Harshness:** The stark, unpolished production can sometimes lead to a harsh listening experience. 4. **Niche Appeal:** The album remains somewhat niche, not achieving mainstream commercial success despite its critical acclaim. In summary, "Spiderland" stands as a testament to Slint’s artistic vision and innovative spirit. Its lasting influence and the emotional depth it offers make it a seminal work in the history of alternative music.

Disco fundamental de los 90. Ignorados durante un tiempo, este álbum los elevó lentamente a la categoría de mito que no pudieron superar (se separaron ese mismo año). Grabado en apenas cuatro días, con letras improvisadas, son 40 minutos que han ido ganando una influencia vigente hasta nuestros días. Post rock, slowcore, sadcore... Breadcrumb trail define lo que es el disco: ritmos densos, guitarras afiladas, voces que van desde recitados hasta gritos. Nosferatu sigue con el pie en el acelerador y Don, Aman es una de sus mejores canciones, con un inicio pausado que va creciendo hasta arder. Washer es otra delicia, fuera de los parámetros temporales de su grabación. El final con Good Morning, Captain... épico. La portada, otra joya, es una foto tomada por Will Oldham.. Otros discos de 1991,uno de los mejores años de la música, algunos excepcionales, fueron: Pixies- Trompe le monde, Massive Attack- Blue lines, My Bloody Valentine- Loveless, Nirvana- Nevermind, Pearl Jam- Ten, Primal Scream- Screamadelica, U2- Achtung baby, REM- Out of time, Red Hot Chily Peppers- Blood sugar baby..., Metallica- Metallica, Teenage Fanclub- Bandwagonesque, Dinosaur Jr.- Green Mind, Soundgarden- Badmotorfinger, Mathew Sweet- Girlfriend, Sepultura- Arise, PM Dawn- Of the heart, of the soul..., A Tribe Called Quest- The low end theory, Talk Talk- The laughing stock, Mercury Rev- Yerself is steam, Lenny Kravitz- Mama said, Uncle Tupelo- Still feel gone, Chapterhouse- Whirlpool, The Farm-Spartacus, De La Soul- De la soul is dead, Ice T- OG, The Wedding Present- Seamonsters, 3rd bass- Derelicts of Dialect, Electronic- Electronic, Slowdive- Just for a day, Saint Etienne- Foxbase Alpha, Van Morrison-Hymns to the Silence, Neil Young and Crazy Horse- Weld, Superchunk- No pocky for kitty, Blur-Leisure, Orbital- Orbital, The Magnetic Fields-Distant Plastic Trees, Babes in toyland- To mother, Jesus Jones- Doubt, Spacemen 3-Recurring, The Filed Mice- For Keeps, Carter the Unstoppable Sex Machine- 30 Something... También: Prince- Diamonds and pearls, Crowded House- Woodface, Guns and Roses- Use your illusion, Michael Jackson- Dangerous, Queen- Innuendo, Roxette- Joyride, The Silencers-Dance to the Holy Man, Spin Doctors- Pocket Full of Kryptonite, Enya- Sepherd Moons...

ive loved this album for a long time. for two very silly reasons i have a huge attachment to it although i don't actually listen to it much or love every song that much. besides that, don aman always reminds me of the kafka short story description of a struggle. (also call me crazy but i always liked tweez more.)

An emotional, sparse album that's so good. I've only heard a couple of tracks before and I liked them but the whole album blew me away. Good Morning Captain just might be the best album closer ever. A superb masterpiece.

Haunting, beautiful, poetic. The spoken word throughout was surprisingly fitting (most albums don’t do it well) as it added a lot to the looming tension and dark themes, in addition to a wide dynamic range. I love to see such quiet, minimalist instrumental sections in a rock album. Good Morning, Captain was a great finale.

I was initially not a fan of this stuff, especially things considered math rock, but it actually kind of rocks.

Slint took the power of the post-hardcore underground and slowed it down, expanded the emotional and sonic range, and created something terrifying and brutal. Even more so because the patience and psychotic control over the stop-start soft-loud dynamics, with precise abrupt transitions. Tensely coiled and balanced on a knife's edge, the soft parts are anxious and ominous - muted dissonance just waiting for the slightest trigger to explode into a distorted fury. The explosions are raw and powerful, the guitars just slam a pedal, but the singer tries to turn himself inside out lungs first. The whole thing is like a grainy horror film: teens wandering into the woods, going off alone, and being ripped apart by some unknown monster you just catch in glimpses. The bleak sound of being cold and hunted and salvation never comes.

I came to this album late, like a lot of others. I remember going to buy the cd (and finding it not available) after hearing other bands mention them as an influence. It's an amazing album, way ahead of its time, that still holds up. I love the atmosphere they created.

Absolutely love it.

Death sells, huh? Nearly liturgical in its orientation, and profound in its poetry. Lovely light-touch arrangements despite all the mournfulness. Haunting, too. “Treaty” is gripping. “On the Level” bittersweet and sung a bit tongue-in-cheek. Among the most overtly death-head records, one will take this over Zevon’s and Bowie’s. And the voice holds up way better than, say, Sinatra’s in his last efforts. Stark and powerful, a beautiful and most fitting exit for an artist of massive, massive stature.

Awesome. I listened to all their other album the same day - not many other bands have inspired that (although I guess it is easier when there is only one other full album). Like early Biffy Clyro, raw Nirvana, with a hint of At The Drive-In energy. I loved it

Haunting and powerful. Simple vamps with dissonance. Didn't love the instrumental, but was a great listen throughout

A band I was only familiar with by name. I thoroughly enjoyed this waltz through post-rock.

Dry but good

A disharmonic Indie masterpiece from 1990. Inspiring many other musicians since then.

I liked wandering off at my great-grandparents’ farm into the woods. There was an old tire swing a few miles in that felt close enough to the farmhouse to be cozy and familiar, yet far enough away and deep enough into the woods to be eerie and unnerving. This album takes that conflicting, whispery feeling, distills it down, and serves it to you in a paper cup. The production is juvenile and gritty in just the perfect way.

Arguably more important than "Nevermind" in influencing the future of alt-rock, and obviously a massive, almost plagiaristic influence on Mogwai. Holy shit.

Slint’s masterful portrayal of the fears alongside a transition to adulthood is not only entrancing, but flawlessly composed as well.

Ik vind dit bijzonder lekker om aan te hebben staan. Het lijkt een soort voorloper van muziek die ik veel heb geluisterd en dan zonder het probleem waarbij de voorloper te eenvoudig of gedateerd klinkt. Alle instrumenten klinken heerlijk. Het klinkt als je het naast elkaar gaat leggen waarschijnlijk heel anders, maar het doet me toch echt denken aan emo- en post-hardcorebands uit de vroege tot mid 2000s. Lekkere groove, een beetje creepy en donker, heel fijn gitaargeluid, licht hypnotiserend. Misschien doet het me vooral denken aan hoe ik in die tijd allerlei muziek ontdekte waar ik nu nog steeds naar luister. Het lijkt ook alsof het hele album naar de laatste track toewerkt en die laatste track raakt dan ook precies de juiste snaar bij me wanneer de zanger toch nog heel even begint te schreeuwen. De laatste minuut van dit album trekt de 5 binnen: Zo moet je een album eindigen. Waar veel albums drie tot vijf matige tracks te lang door blijven modderen eindigt dit album juist op het hoogtepunt. Dikke verrassing.

It's funny how Slint and Talk Talk are seen as foundational artists for the genre post rock, when the two bands couldn't be more different from each other. Talk Talk is intimate, vulnerable, and life affirming, while Slint is angsty, unsettling, and oppressive. Yet within later post rock releases you can find traces from both bands. While I prefer Talk Talk's Laughing Stock over Spiderland, I cannot deny the influence this album has had on so many later bands.

Some of these songs are sort of just a poem rather than a song, or at least it definitely pushes the limits of the definition of a song. Don, Aman reminds me of a performance I watched in a lecture about spoken word poetry. It's definitely interesting in content, but I'm not sure how I feel about it from listening once. It seems like the type of album to grow on you. Some songs have hardly no to no vocals in them and focuses solely on instrumental. Whilst you may not rock out to them, they're definitely a soundtrack to self-reflection and indulgence in meditative, creative spaces. Upon listening to it again, I love it endlessly

Such a cool record. Pre Math Rock

All-time masterpiece, nuff said A-

I never heard this band before and was impressed with their quality.

Pre-Mogwai, pre-GY!BE, it's a seminal album, like late Talk Talk meets Sonic Youth. I love the atmosphere, the tone, the timing. It can be a tad pretentious, but they were like 20... so was I… I wish I made this album. I’m just a sucker for this kind of stuff. It's gotta be a 4.5 for me. This is my music.

Oh, this one is really good. Fantastic instrumentals. I dind't really like the spoken vocals but they help to build up this dark atmosphere I guess my ears adjusted, I like everything after second listen