Came After: Sigur Ros, random mp3 finds.
As talked about in the essay, for me, this album is about religion and it being viewed by a person who is both in awe of it and disgusts it at the same time. It became so important to me as I grew up in HS and college with it as perfectly expressing how I felt. The songs still resonate with me the same way as they did when I finally let myself be enveloped by the albums beauty. Modest Mouse is not an easy band to love. During my first orrientation at Belmont, the first day I wore a Modest Mouse shirt, and the second day, I wore a DCFC shirt. One guy I was hanging out with remarked on the 2nd day "Oh yeah, DCFC, they're so much easier to like than Modest Mouse." But for me, everything about that album makes pefect sense.
7. The Rapture - Echoes
Came after: Sparta, The Get Up Kids
A brief admission: I love Pitchfork. I find that, while I do not always agree with their reviews, they constantly offer great information at help me find bands I otherwise may not have discovered. This, of course, will get me shot in an indie snark-fest, but whatever. The reason I bring this up is because I discovered the Rapture via Echoes being the top album of 2004 according to Pitchfork. I was still living in New Braunfels, and the day after I read the list I went out and found a copy, thinking it had to be awesome if it was supposed to be the best album of 2004.
I really, really, did not get it.
"House of Jealous Lovers" was amazing, no doubt, but the slow jams? what the fuck? I really just didn't appreciate it. But, as with a lot of albums, it takes time to understand. I lived with that album for a few months before I really began to listen to it. And when I finally did, it became one of the most life-altering albums I have ever bought. The Rapture opened me up to electronic and dance music, through DFA and their associated artists. Before, dance music was kinda lame, and I connected it with pop music, useless music that may as well have been all Nelly. Now, dance music was exciting, it was new, it was daring. Screaming, four-on-the-floor, cowbells, whatever, I embraced it. For some reason, like DCFC, this music really connected with me at exactly the right time. I had just gotten out of the previously-mentioned relationship, and I was looking for something sonically to help me forget. Dance-punk, and its offshoots, became that for me. I started writing music with the most awesome of all programs, Fruity Loops, and the Rapture's influence affects me today in the work I do with DACC. I really didn't care when everyone started claiming it was ripping off Gang of Four and the like...why not use them as influences? It was great, moving, music. It unlocked a passion in me that still is in gear today, and I thank them for that.