July 2020 Record Challenge (The Raffle Strikes Back)

Day 16: Lo-Fi

To be perfectly honest, I have a hard enough time keeping up with all the genres of music to also keep up with the styles within those genres...most of the time I don't really care what they are.

What I would consider "lo-fi" is usually called "avantgarde" or "experimental" to others.


I almost used this for the Solo day...but kept it for today.

John Frusciante ‎– Niandra LaDes And Usually Just A T-Shirt
Superior Viaduct ‎– SV076, 1994/2017

Deluxe version limited to 1000 on red transparent vinyl w/ 7" of Ants b/w Untitled

Pressed at RTI / GZ (7")

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Day 16 - Unpolished production

Youth Lagoon - The Year of Hibernation

Despite the 360 Stereo Sound in the corner (hipster irony!), this is quite lo-fi. I’m also a big fan of YL’s Savage Hills Ballroom, which is much more polished. Unfortunately didn’t care much for his latest LP (Trevor Powers).

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Skeletonframes said:
Nothing much to say that I haven't said before except Estranged is the greatest Guns N Roses song ever written.
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I used to ride for "Rocket Queen" but my first thought when I read this sentence was "yup, agreed."

Rip_City said:
July 16: Unpolished Production

Portishead - Dummy

Surprised no one has gone with this yet.
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Wait, what? I love the production of that album, and never in a million years would have associated it with "lo-fi." I'm surprised you used it for today's theme!
 
JULY 14 - CATCHUP
😍
Play an album about/with a lot of songs about love

Otis Redding - The Soul Album

Depending on the day, this is my favorite Otis album

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JULY 15 - CATCHUP
GO IT ALONE
Solo album by someone from a previously established band

Sad13 - Slugger

Sadie Dupuis from Speedy Ortiz released a pretty good solo album with another one coming out in September

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JULY 14
😍
Play an album about/with a lot of songs about love

Squeeze -- Cool For Cats

This album seriously has it all... Self-love (Touching Me Touching You), tragic love story (Up The Junction), young love full of innuendo (Slap and Tickle), and many more... I think every song on here is either about drinking or "love" (or both).

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gaporter said:
It's interesting seeing people interpret today's theme as identifying lo-fi as a genre, I meant in more in a technical sense, like an album with not great sound quality or very bare-bones production. I'm not sure how I would define lo-fi as a musical style tbh.
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Here is how All Music defines it...
www.allmusic.com

Lo-Fi Music Style Overview | AllMusic

Find Lo-Fi Albums, Artists and Songs, and Hand-Picked Top Lo-Fi Music on AllMusic
www.allmusic.com www.allmusic.com
Pop/Rock » Alternative/Indie Rock » Lo-Fi
During the late '80s and early '90s, lo fidelity became not only a description of the recording quality of a particular album, but it also became a genre onto itself. Throughout rock & roll's history, recordings were made cheaply and quickly, often on substandard equipment. In that sense, the earliest rock & roll records, most of the garage rock of the '60s, and much of the punk rock of the late '70s could be tagged as Lo-Fi. However, the term came to refer to a breed of underground indie rockers that recorded their material at home on four-track machines. Most of this music grew out of the American underground of the '80s, including bands like R.E.M., as well as a handful of British post-punk bands and New Zealand bands like the Chills and the Clean. Often, these lo-fi bands fluctuated from simple pop and rock songs to free-form song structures to pure noise and arty experimentalism. Even when the groups kept the songs relatively straightforward, the thin quality of the recordings, the layers of tape distortion and hiss, as well as the tendency toward abstract, obtuse lyrics made the music sound different and left of center. Initially, lo-fi recordings were traded on homemade tapes, but several indie labels -- most notably K Records, which was run by Calvin Johnson, who led the lo-fi band Beat Happening -- released albums on vinyl. Several groups in the late '80s, like Pussy Galore, Beat Happening, and Royal Trux earned small cult followings within the American underground. By 1992, groups like Sebadoh and Pavement had become popular cult acts in America and Britain with their willfully noisy, chaotic recordings. A few years later, Liz Phair and Beck helped break the lo-fi aesthetic into the mainstream, albeit in a more streamlined fashion.
 
TenderLovingKiller® said:
Here is how All Music defines it...
www.allmusic.com

Lo-Fi Music Style Overview | AllMusic

Find Lo-Fi Albums, Artists and Songs, and Hand-Picked Top Lo-Fi Music on AllMusic
www.allmusic.com www.allmusic.com
Pop/Rock » Alternative/Indie Rock » Lo-Fi
During the late '80s and early '90s, lo fidelity became not only a description of the recording quality of a particular album, but it also became a genre onto itself. Throughout rock & roll's history, recordings were made cheaply and quickly, often on substandard equipment. In that sense, the earliest rock & roll records, most of the garage rock of the '60s, and much of the punk rock of the late '70s could be tagged as Lo-Fi. However, the term came to refer to a breed of underground indie rockers that recorded their material at home on four-track machines. Most of this music grew out of the American underground of the '80s, including bands like R.E.M., as well as a handful of British post-punk bands and New Zealand bands like the Chills and the Clean. Often, these lo-fi bands fluctuated from simple pop and rock songs to free-form song structures to pure noise and arty experimentalism. Even when the groups kept the songs relatively straightforward, the thin quality of the recordings, the layers of tape distortion and hiss, as well as the tendency toward abstract, obtuse lyrics made the music sound different and left of center. Initially, lo-fi recordings were traded on homemade tapes, but several indie labels -- most notably K Records, which was run by Calvin Johnson, who led the lo-fi band Beat Happening -- released albums on vinyl. Several groups in the late '80s, like Pussy Galore, Beat Happening, and Royal Trux earned small cult followings within the American underground. By 1992, groups like Sebadoh and Pavement had become popular cult acts in America and Britain with their willfully noisy, chaotic recordings. A few years later, Liz Phair and Beck helped break the lo-fi aesthetic into the mainstream, albeit in a more streamlined fashion.
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That genre part doesn't make any sense to me.
 
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