Spiderland

La première fois que j’ai écouté Spiderland, je me suis sincèrement demandé si on ne s’était pas foutu de ma gueule. C’était sec, aride, murmuré comme un secret honteux et ponctué de sursauts de violence. Un truc pas du tout taillé pour séduire les foules, un truc qui semblait s’excuser d’exister, un truc où il m’a fallu revenir dessus, insister, laisser reposer, puis me reprendre une claque pour réaliser enfin l’ampleur du désastre et du génie combinés. Spiderland ce n'est pas le genre de disque qui se donne au premier venu, c’est plutôt le genre d’œuvre qui exige que vous abandonniez vos repères de pop songs confortables, et c’est précisément pour cela qu’il trône aujourd’hui au sommet de mon panthéon personnel avec la note maximale. Nous sommes en 1991, et pendant que l’ouragan est sur le point d’engloutir la planète avec Nevermind, quatre types à peine sortis de l’adolescence, décident d’enregistrer le disque le plus antisocial et énigmatique de la décennie. Brian McMahan, David Pajo, Britt Walford et Todd Brashear qui venaient des cendres de Squirrel Bait et de la scène punk locale, avaient pondu un premier album bruitiste, un poil bordélique mais qui laissait entrevoir un potentiel bizarre. Pour ce second essai, capté en quelques jours seulement, ils ont tout épuré, tout ralenti, tout étiré jusqu’à l’extrême limite de la rupture. Le résultat, qui tient sur six morceaux seulement, est une quarantaine de minutes qui allaient, sans que personne ne s’en doute sur le moment, poser l’acte de naissance officiel d’un genre tout entier : le post-rock. En 1991, le mot n’existe même pas et alors que la presse britannique commence à peine à bégayer devant ce monstre froid, le groupe a déjà le bon goût de se dissoudre avant même la sortie officielle du disque. Dans le genre plan de carrière, on a fait mieux. Et puis il y a cette pochette mythique, immortalisée par Will Oldham : quatre têtes d’ados qui flottent dans l’eau glauque d’une carrière abandonnée, un sourire crispé ou complice aux lèvres, le tout dans un noir et blanc granuleux qui suinte l’ennui provincial. Cette image résume parfaitement l’expérience de Spiderland : on ne sait pas si ces mecs se marrent, s’ils sont en train de se noyer ou s’ils nous regardent sombrer avec eux. C’est une invitation faussement innocente vers un précipice émotionnel car Slint a inventé une tension narrative où la musique n’est plus un simple véhicule pour un refrain accrocheur, mais le décor sonore d’une nouvelle littéraire ou d’un thriller psychologique tourné en pellicule 16 mm. Et c’est justement pour cela que l’accès en est si rude. La première écoute vous laisse souvent une impression de vide trompeur. Car là où le rock traditionnel mise sur la saturation immédiate, Slint privilégie le silence, l’attente et la retenue. Les guitares de McMahan et Pajo ne jouent pas, elles tricotent des motifs froids, dissonants, presque chirurgicaux, qui s’entrelacent avec une précision mathématique terrifiante. On est plus proche de la musique de chambre vénéneuse ou d'une déconstruction jadis amorcée par Television que sur des gros riffs de stade. Et au milieu de ce paysage dépouillé, il y a cette la voix qui refuse obstinément de chanter. Brian McMahan murmure, marmonne, récite des bribes de récits étranges d’une voix atone, comme s’il lisait son journal intime assis sur le bord de votre lit au beau milieu de la nuit. C’est ce qu’on appelle le « spoken word », mais poussé ici à un niveau d'intimité dérangeante. Le groupe maîtrise la dynamique avec un sadisme artistique remarquable. Loin des explosions prévisibles du grunge, les montées en tension chez Slint ressemblent à des failles tectoniques qui s'écartent lentement avant le séisme. Prenez l’ouverture, Breadcrumb Trail, une mélodie de guitare claire en harmoniques, une batterie jazzy et feutrée signée Britt Walford, puis soudain, une décharge de distorsion abrasive qui déchire l'air sans crier gare. Le contraste est brutal, physique. Et ce n’est rien à côté de la paranoïa clinique de Nosferatu Man, le martèlement implacable de la batterie et les harmoniques stridentes évoquent une course-poursuite nocturne et claustrophobe. Chaque son est à sa place, net, sec, dépourvu de la moindre réverbération superflue. Mais là où l'album frappe le plus fort, c'est dans sa capacité à dépeindre la solitude absolue. Un titre comme Don, Aman pousse l'ascétisme jusqu'à un point de non-retour. C’est l’histoire toute simple et terrifiante d’un type rongé par l’anxiété sociale lors d’une soirée, incapable de communiquer, qui finit par fuir dans sa bagnole sous les réverbères blafards. Pas de batterie ici, seulement deux guitares qui oscillent entre fragilité maladive et spasmes de rage contenue, et cette voix blanche qui décrit le calvaire intérieur d'un introverti. C’est un morceau qu’on n’écoute pas d’une oreille distraite : il vous glace le sang parce qu’il touche à une vérité universelle sans jamais verser dans le pathos larmoyant d’un chanteur à texte conventionnel. Slint ne cherche pas à vous consoler ; il documente un état de déréliction avec une honnêteté chirurgicale. Et puis, il y a le versant monumental du disque. Washer, qui s’étire sur près de neuf minutes, représente pour moi l’un des sommets d’émotion pure de toute la décennie. Une marche funèbre fantomatique, un crescendo d'une délicatesse déchirante où les deux guitares dialoguent avec une pudeur inouïe, avant de basculer dans un maelström de larsens et d’accords ravageurs et ce chant hésitant, presque brisé, qui finit par céder la place à une vague sonique qui balaye tout sur son passage. Ce genre de montée dramatique, sans artifice électronique ni production boursouflée, est la preuve absolue que ces quatre mecs avaient compris le pouvoir du silence bien mieux que n’importe quel producteur en vue de Los Angeles. L'apothéose finale, Good Morning, Captain, inspirée de la Complainte du vieux marin de Coleridge, finit d’achever quiconque a eu le courage de rester jusqu’au bout. Le riff de basse répétitif et menaçant, les cymbales qui grincent, ce récit de naufrage et de culpabilité murmuré comme une confession hallucinée… Tout s’imbrique jusqu’à cette explosion finale d’une intensité inouïe. Quand McMahan s'arrache les cordes vocales en hurlant son désespoir à pleins poumons sur les dernières secondes, la légende raconte qu’il en a littéralement vomi de fatigue et d'émotion dans le studio. Vrai ou faux, peu importe : à l'écoute, on ressent viscéralement cette rupture physique. Et quand le disque s'arrête, le silence qui suit est l'un des plus assourdissants de l'histoire du rock. Alors oui, je le répète sans détour : il faut du temps pour apprivoiser ce monstre. Il m'a fallu réécouter Spiderland plusieurs fois, au départ, on se heurte à sa rudesse, à son refus obstiné de faire plaisir. Mais une fois que l’on comprend son langage, fait de retenue, d'ellipses et de déflagrations soudaines, on ne peut plus revenir en arrière. Slint a bâti un phare dans la nuit de l'underground américain, un monolithe qui a inspiré sans vergogne des cohortes entières de géants comme Mogwai, Godspeed You! Black Emperor ou Explosions in the Sky et sans Spiderland, toute une frange du rock moderne n’aurait tout simplement jamais existé. Ce n'est pas un album qu'on aime par habitude ou par conformisme branché, c’est un disque qu’on subit d’abord, qui vous intrigue ensuite, et qui finit par vous hanter définitivement. Une œuvre sombre, austère, profondément humaine dans ses failles et terrifiante de maîtrise formelle. Un chef-d'œuvre absolu, exigeant, rude et magnifique, qui justifie amplement qu'on s'y casse les dents deux ou trois fois avant de s'incliner.

Sometimes I really enjoy the suggested album. This was not one of those times

I liked the musical aspect of this quite a lot but the talk singing was wearing. Also story graph has me longing for a .5 stars option.

Love the atmosphere, dislike rhe vocals. Low 4 stars

Atmospheric, unsettling, interesting to listen to... And then I'm dissociating because it's been like 6 minutes for one song

Not for me, too much random noise. Usually I this kind fo music. One star

Holy shit. I had no idea Slint would be here!! I did a paper on Post Rock in college, which is how I discovered them. I was really big into Explosions in the Sky at the time and had also found Sigur Ros and a few other bands during that time. They're a little far from the Post Rock that I really liked at the time, and so I was a little confused as to why they're considered the founders of Post Rock, but I definitely get it now. Their influence was less about the vocals and more about the harmonic and rhythmic structure of their music. This is sneaky really good. It definitely has high school garage band vibes, but the music itself is so deep. It's so complex and tasty. It's not for everyone, but I think that anyone that enjoys things adjacent to this will love this album. The singing isn't really the point, and I honestly don't love it, but the guitar, bass, and drum work is all absolutely excellent and worth listening to a couple of times through, especially since this is a shorter album. Favorite Song(s): Breadcrumb Trail, Washer

Kind of strange, mostly spoken word that sounded like it wanted to be the refused in delivery, but forgot any of the punk

I don't like all the talking.

Kinda weird, probably won't ever want to listen to it again but it wasn't the worst thing

So incredibly bleak. Stunning moments coupled with some less interesting stretches but this is the post rock ideal

I probably would’ve been insufferable about this if I was alive when it came out.

Great record. Highly influential. Not much sounds like it. Engaging all the way through.

No standouts

Hidasta ja tunnelmallista musisointia jossa on käytetty raskaita kitaroita ja rytmejä. Silloin tällöin tool kuuloista.

4/10

I don’t know this album—or even this band. I enjoyed the post-punk, proto-grunge vibe. The album loses some steam at the end….

This album's a prime example of when parents shouldn't tell their their children that they are good at something they are not. That was terrible.

I like the spoken word poetry element of the album, but I found that the lyrics and oppressive tone just didn’t grab me very much.

Never heard of the band before. Would definitely have another listen.

Not heard before, not really a fan of this style of music, bit a good couple of tracks. More an ep than an album

Not my type of music. I don't like the screaming on these types of albums. Some of the guitar parts were really nice and I liked them but I just liked the parts. I don't know. I fell like I'm getting albums like this all the time now. Maybe this list is full of them. 4.3/10

First encounter, found it ponderous

I do enjoy experimental stuff but this is a little beyond me. Barely avoiding the 1 rating by including some atmospheric songs that I didnt hate but anything else was a hard listen.

Actually really enjoyed this raw and rough album. Never heard of this band before, but I do have an affliction for this era of grunge/post-punk

So very 90's. Reminds me of a mixture of Smashing Pumpkins and Butthole Surfers. Overall, decent. I'll say 2.5 - round up.

Quite liked this one. Some real groovy parts and enjoyed the guitar riffs.

Finally an interesting album!! This was pretty neat.

I'd not heard of Slint before joining the 1001 community. This album was intriguing, grew on me somewhat over a couple of listens. Brooding is the key word - I appreciate the occasional loud passages but note that the band consistently refrains from resolving into cathartic riffs, so the soundscape is consistently unsettling. Unusual riffs avoid tonal centres - unusual time signatures avoid rhythmic pleasures, while keeping the musical progression intelligible. I don't mind the spoken text - I can hardly hear it in normal listening, when I read the words they're interesting and don't seem problematic. I briefly wonder if I 'enjoy' the album - quickly conclude that it's not one for enjoyment, it's more of a thinking piece (like an art music concert) than an entertainment. How good is it? It seems significant for being post-rock without needing to be ear-splitting - I can believe that it was influential. It's at least Very Good at being what it is, 8/10.

Yes.

A cult classic, and for a reason. Fingerprints of this are all over innumerable subsequent works

I’d never heard of the band before, and I didn’t know what to think at first. I kinda liked it, mostly musically. But midway through I started to really get into it, and the second half really grabbed me and kept me interested. Washer was the absolute standout for me. What felt like a 3 at first became a solid 4 as it played.

Nice, this album. I've seen the cover around while perusing the book. It's certainly a unique and attention-grabbing cover photo. I think it stands to reason that this will either be a grunge or alternative rock album. I'm more inclined to side with grunge. Here goes. Post-rock/post-hardcore/math rock. I'm content with being wrong every now and then. This was solid. While I admittedly don't see the vision of this album, I had an enjoyable time listening to it regardless. The guitars are put to good use, having a generally dreary, dull sound which lends a surprising level of complexity to this music. The blown-out guitars are more of a mixed bag with their crunchy, distorted sound, though I appreciate the variety that they lend to this album. The vocals are quite adept, too. They have a nice, bassy sound, and I enjoy the gaps and relative sparsity of lyrics on this album. Above all else, I enjoy the moments of silence. The steady pacing and effective use of space are unequivocaly the best aspects of this album for me, lending a pensive, ruminating element to the music that I enjoy. Cheapening the appeal of this album are the very long track lengths, a sameiness to much of the music and this kind of banal aesthetic not entirely being my cup of tea, though I can hardly complain. I had a good time listening along to this album. Book time. "With a status that far outweighs their scant sales, Slint [...] set the agenda for the Nineties post-rock field." "...the band took the same influences that had propelled the American underground for years - punk and heavy metal - and twisted them into something devoid of obvious reference points." Revered by critics, but audiences weren't as receptive. Its influence on rock music was only felt after Slint had broken up. The entry closes out with "While Nevermind, 1991's most famous release, came from a similarly obscure background and may share this album's dynamics, its simple Black Sabbath/Black Flag template lags way behind the inspired parallel universe in which Spiderland exists." Wikipedia says the UK press was the one to really back this album - American journalists didn't seem to care. The album is considered to be a landmark release in indie music in addition to post/math/experimental rock. PJ Harvey has cited the album as a favourite, and the album has received widespread and enduring acclaim from critics in the years following release. The album hasn't charted anywhere, however. Yeah, I'm on this album's side. I cosign this inclusion.

Music was ok and the album was definitely different. Not going to be on my favorites list but I didn’t hate it.

Look I like talk rock as much as the next guy - as long as the next guy is fucking deaf. Who is this for? Regardless I was enjoying the melodies, at times, of the guitar and was wondering why they didn't just set the lead singer loose and let him belt some shit out. Well about 19 minutes into the album he started singing and a little light bulb smashed me over the head and I thought "oh that's why". His voice is weak and has no gravitas, and whomever came up with the lyrics must have been content to just submit the rough draft. I'm giving it 2 stars because I did enjoy some of the music (not the talking over it, not the singing over it) and it was only 38 minutes long, which I appreciated more than this band will ever know.

This sounded like a true rock / metal album

Broody, plodding rock

nedpå

Very aggressive and eerie post-rock, though given I’m a massive 90s alternative fan, I still feel like I should love this album more than I do.

parecia que podia melhorar mas ficou chatinho

Perhaps the most iconic album art that I've seen a million times and had absolutely no idea what the album was. Spoken word stuff is so strange, the instrumentals are unnerving, this is such a strange sonic experience and I really can't decide if I love it for that or if I never want to be anywhere near it again.

Maybe it’s just me, but the spoken words were overpowered by the music.

This grew on me as it went along, but it still wasn't really for me. The vocals are just so low effort it really drags down the album. 2.5, rounding down.

I don’t know if by design, or by the will of my headphones but I could not hear a single word that man sang. So this review is based on musical vibes only, it was pretty okay! I would’ve preferred to have listened to this with book in hand, rather than on the bus, where I witnessed two teen boys legitimately spit in each other’s faces several times in the name of “fun”.

I was listening to this during that big storm last night and there were long stretches where I couldn’t hear anything so then I went to turn it up and then suddenly the noisiest moment of noise ever heard came on. so hard to say overall exactly what it was like

2.5

I really did enjoy this album a pretty good bit it's kind of an artistic take on grunge. I can definitely hear their influence from Sonic Youth albums from about that time. I also feels like this in a way is a template to Nirvana's final album. But also gives early hints of post Rock I can kind of hear a little bit of Godspeed You! Black Emperor a bit in their sound as well. Definitely one that's interesting at least in its historical context 8.4 ★★★★

I don't know that I fully get the acclaim of this album, but I don't totally hate it either. There are some moments where it's pretty cool. "Washer" probably my favorite. 3 stars.

It’s okay in parts. They don’t really write songs, they just do sparse tetchy guitar and mumbly travel monologues with occasional bursts of emo wailing and grinding dull guitar crescendo. There was actually a far more important ‘Spiderland’ brewing elsewhere in 1991 in the animation sphere… “I like bunny rabbits, I like frogs. I like pussycats, and I like dogs. Talking to a tiger is like falling off a log. Being friendly to the animals is easy! I've got a couple of hamsters in the garden shed. One's called Sebastian, and the other's called Fred. I've even got a teddy bear I take to bed! Being friendly with the animals is easy! But, a spider in the bath, a spider in the bath! A creepy crawly, creepy crawly spider in the bath! I know he's only there because he wants to have a laugh! With hairy legs and beady eyes that terrify and tantalize! But, a spider in the bath, a spider in the bath! A creepy crawly, creepy crawly spider in the bath! I know he's only there because he wants to have a laugh! I thought I'd put it down the drain but now he's climbing up the chain! Spider in the bath! I like elephants, and I like mice. I'd take a lion cub at any price. I've even heard that crocodiles can be quite nice. Being friendly to the animals is easy! I like caterpillars. I like snails. I like a lizard with a very long tail. I'd even go swimming with a big white whale. Being friendly to the animals is easy! But, a spider in the bath, a spider in the bath! A creepy crawly, creepy crawly spider in the bath! I know he's only there because he wants to have a laugh! With hairy legs and beady eyes that terrify and tantalize! But, a spider in the bath, a spider in the bath! A creepy crawly, creepy crawly spider in the bath! I know he's only there because he wants to have a laugh! I thought I'd put it down the drain but now he's climbing up the chain! Spider in the bath! I've a horrible feeling that the spider's still there! He's hiding in the bathroom, but I don't know where. But bath time's over now, so i don't care! I thought I'd put him down the drain but now he's climbing up the chain!” Spiders and Spiderland? Eugh!

Im never listening to /mu/ again

hm. es isch uuuhuere en downer aber ich gseh nöd wieso mer sich das wür geh. megamega lngsam. ich glaub das isch musig wo pretentious rockkenner (bewusst ungegendert) gfallt.

oke s albumcover isch sehr cool MATHROCKKKK aso s chan au sehr schnell sehr müehsam werde hahaha aaaber die höchi, quietschendi gitarre findi recht cool bi nosferatu man (und au breadcrumb) NO MEH HÖCHI GITI sin sprechgsang passt I guess zude atmosphäre aber bin jz nöd de grööössti fan WOW OKAY BI DON, AMAN PASSTS SEEEHR huuere geili und chli creepy atmosphäre und washer het megaa en coole ahfang, es isch iwie mega schön aber driftet geg de schluss immer wieder ih de "creepy vibe" inne wow ich lieb washer würkli sehr fest JETZT NO IWIE SHOEGAZE??? und au klari metal-element findi RIESEEESONG for dinner isch es okays instrumental, s passiert chli weniger, passt aber sehr zum flow vom album NOMAAALLL hahaha ich han bim erste mal lose nöd cheggt, dass washer fast 9 min gaht mega fest es 5i

Losts of negative space in this album. It's pre-nirvana grunge. I can see why someone would like this, but its whispering and whining lyrics really wore me out.

eerste drie nummers zijn zeer goed, maar dan valt de boel plat... laatste nummer geeft nog de extra duw richting derde ster

Math rock? Come on?!? The first track reminds me of Nada Surf's Popular. I guess the first part does anyway. This feels like it's going to be a long listen. I think I just found Marcy Playground's favorite band. Some sweet drinking sounds.

Day1007 - it just kept getting worse and worse

Going into today’s listen, I had never heard of either Spiderland or the band Slint, so I had absolutely no idea what to expect. This is a really difficult album to review. My first listen flew by, but when it finished, I genuinely couldn’t decide whether I liked it or not. It’s a strange record, dark, sombre and almost unsettling at times. The songs develop slowly, creating this deep, haunting atmosphere, yet somehow it often feels like the music isn't really going anywhere. It’s a very unusual listening experience. There’s something about the sound that reminds me of Joy Division. It has that same bleak, brooding atmosphere and sense of unease. I can understand why this album developed such a following, particularly in the UK, where this darker, more experimental style of music has always had an audience. What I do like is the darkness of the lyrics and how stripped back everything sounds. Nothing feels overproduced or unnecessary. There’s a constant tension running through the album, as though something is about to happen, but it rarely quite arrives. The music builds and builds, and just when you think it’s finally going to explode into something, it pulls back again. By the time the album reaches its conclusion, you're almost left wanting more. And perhaps that’s what makes Spiderland so interesting. It’s not particularly catchy, there aren't any obvious big songs, and I’m still not entirely sure how much I enjoyed it. Yet there’s something strangely compelling about the whole thing. I’ll definitely listen to this album again, although I’m not entirely sure why! Maybe that’s the best compliment I can give it. It’s an album that leaves you feeling like there’s something you haven’t quite understood and makes you want to go back and work it out. Favourite track: Probably “Washer”. It’s difficult to pick one, but this stood out for its haunting atmosphere and slow build. Least favourite track: Nothing on here is particularly bad. It’s more an album that needs to be experienced as a whole. Album artwork: Strange yet somehow familiar. A really unusual cover that suits the unsettling atmosphere of the music perfectly.

One of my favourite albums ever. This has such an unsettling and eerie sound to it that I don't think I've heard replicated anywhere else. Nosferatu Man is my favourite song here but all 6 tracks on this thing are great while also managing to sound completely different from one another.

I can respect when musicians don't follow standard song structures and try to create new kinds of songs. Props for the effort. But I found this album weird and totally inaccessible.

I feel like I've heard a dozen albums like this (2.3/5) A worse version of shack

Fun fact: listening to math rock while working on orbital dynamics does not, I repeat, does not help solve any of the math. In fact it makes it harder

Honestly, not for me. It was fine at best? I was reading a bit and sounds like this paved the way for some future music, but I'd be curious to know what the future music was, because I did not like this really at all. Probably 2.25 or so.

Some people shit on punk rock for being 3 chords, but sections of this album are only one chord. Still the album is OK overall. ⭐⭐

Dreary, repetitious, self-satisfied.

Never heard of this band. The instrumentation was excellent shifting between grunge, gothic, dreary, to dissonant at times. Inconsistent vocals and the 15 minutes of wilderness sounds at the end of the album were negatives. But “Nosferatu Man” and “Good Morning, Captain” pushed this to 4-stars.

Did not enjoy. Soooo boring. This list confuses me sometimes.

Yes, I like it and I didn t hear ir befor🤗

Seminal album, one of my boyfriend's favourites and I love it too ❤️

Don’t understand this album at all

Loved it. There are warts, sure, but coming after Steely Dan, this record shows that perfection has its limits, and imperfection can be thrilling. Does not aim to please...and I'm fine with that.

Aika paskaa musiikkia

good!

Aw, this reminds me so much of other shitty indie bands I haven’t heard in years.

Low ball nothingness of dreariness

one of the best

Musically almost my jam. But I'm not into the vocals. 2,5

hell yeah

The music at times reminds me of Soundgarden, with grungy guitar buildup. Combined with the spoken and sometimes shouted lyrics, it builds a tension that never resolves. I think the best word to describe it is unsettling. The approach seems intentional but directionless. Not bad if you don't mind never reaching a destination.

Good background noise I guess? Don’t think I’ll remember this one

It was definitely different. Points for originality, but I didn’t really love it.

A bit triggered cause my ex had a towel with this album cover on it. Top bops: Nosferatu man Washer Good morning, captain

Bisschen weird

Wow! A surprisingly awesome record! I did not know what to expect. I was thinking one of those run of the mill indie/alt rock bands that were a dime a dozen in the 90s. I cannot even begin to explain to you this record, you just need to listen to it. It's got spoken word, it's got prog, it's got idie, it's got alt rock... as well as post-punk, post-rock and even some post-metal. Some parts and some songs would not be out of place on an album by an atmospheric black-metal band like Agalloch or Wolves In The Throne room, yet they sound nothing like them. This is a record that you must experience for yourself and see what it is all about in order to understand it or grasp it. As I said, it completely took me by surprise!

I’m a bit conflicted on this one but I’m feeling generous today so it’s a low four. There’s a lot here I do like but at times it’s a bit meandering and overly long. Really liked the final track; it was atmospheric.

Super weird. A dude talking over minimal guitar strumming for most of it. Garbage. 1* Oh I see, it's one of those "a genre only exists because of this album" albums: "Spiderland is widely regarded as foundational to the 1990s post-rock and math rock movements" UGHHH

phenomenal album cover

I’m a big Mogwai fan so was anticipating this greatly but this was a really difficult listen. Ponderous dirge is the best way I can put it. My first 1/5.

Allot of the songs just didn’t stick with me, like it didn’t feel catchy, it was produced great tho and I could understand why someone would like this

Samey and dirgey

This album was life changing is definitely in my top 10 albums ever if not even in my top 5. This work is intense, it makes you feel an overwhelming sense of everything. You have an overwhelming sense of dread, of fear, you have a taste in your mouth that just won’t go away. Spiderland delivers on these feelings that are so immense that we really can’t let it go. A breakup that just won’t go away. Like stepping into a dream in which you’re awake but nothing feels real. Spiderland is the pinnacle of post rock.

some white boy bullshit

Супер класика, культ і оце все. Я пам'ятаю, що мені, коли перші рази слухав, було досить складно пробратися через споукен частини, треба був час щоб притертися. Музично це звичайно вражало, особливо ці переходи між частинами пісень. Репетитивність працює ідеально. Здивований загальною низькою оцінкою цього альбому на цьому сайті.

Абсолютна й неперевершена класика, важко повірити що цим людям було умовно по 18-20 років під час запису альбому. Пощастило бути на реюніоні наживо і це було магічно. Washer в топі улюблених треків евер.

I love this album

Was it really only 40 mins long? Felt like a real slog to get through that one.

Não sei se é a capa do álbum, o silêncio ou toda a conjectura em volta dele, mas escutar Spiderland é como estar em um filme found footage. O que está longe de ser ruim, porque é uma das melhores vertentes do terror. É louco pensar que essa produção soa como a obra de uma banda experiente quando, na verdade, eram apenas garotos sem interesse algum em repetir tudo o que já tocava na época. Experimentação pela experimentação. Mais do que um álbum, parece um registro encontrado de algo estranho que aconteceu e nunca foi totalmente explicado!

MOODY

2.5

This was a weird one and very mellow in a way and long songs that went more off feeling and soundscapes in a way. It had heavy moments but it was more for effect Think I’m gonna go 3.5 or 4. Because I’ve never heard something like this really before. Heard hints of stuff but it was unique in a way. Definitely a headphone album and to not listen to these as verse chorus verse “Songs” This album is either gonna be a 3 or 4 but I’ll go higher for now. May edit later after few more listens

Was hoping to like this more after hearing about its cult status. I’ve grown to enjoy the whole “quiet to loud” thing, but a few of the songs here are just quiet. Without the loud part for contrast, it’s just kinda boring.