
In the Aeroplace Over the Sea
Julian Koster's singing saw over double-tracked acoustics, cut in Denver with Robert Schneider, and a chorus that faces death smiling.

Julian Koster's singing saw over double-tracked acoustics, cut in Denver with Robert Schneider, and a chorus that faces death smiling.

Every instrument distorted at Schneider's Denver studio, and Mangum turns an elegy for Anne Frank into pure forward momentum.

A lullaby melody hiding a song about alcohol, and one of three Either/Or tracks in Good Will Hunting.

Schneider got the fuzz from tube preamps and compression, not pedals, and Mangum sings childhood into two minutes flat.

Cut in September 1994 at bandmate Tony Lash's house, trumpet and harmonica stripped away until only guitar and dread remain.

Adrian Utley of Portishead helped build the noise, and Hadreas answers a lifetime of stares with pure swagger.

Snowed into a Prince Edward Island farmhouse, Rankin wrote a proposal song; VanGaalen cut it in Calgary.

Smith recorded Either/Or in Portland friends' houses and mixed this one himself, a parade watched through sour eyes.

Guitar that unspools for nine and a half minutes, Stella Mozgawa on drums, Vile in no rush anywhere.