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their final recording in studio. The vocal additions often pulled the songs in new directions, with examples being "Good
Morning, Captain" and "Washer". McMahan was never comfortable taking the role of vocalist and only did so because nobody else in the band would. He considerably increases his range on "Spiderland", incorporating both his earlier whispered and shouting approaches with what Tennent describes as conventional, "actual singing".
860:. Saltzman found the spider in a shed while working his summer job. As it would not remain still enough to be photographed, Saltzman killed, froze, and repositioned it with tweezers to take the shot. The inside sleeve contains the message "interested female vocalists write 1864 douglas blvd. louisville, ky. 40205". The words "this recording is meant to be listened to on vinyl" is printed on some
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715:. Pajo has said he is particularly proud of the song's one-note guitar solo, admitting that "at that point in my life, if someone asked me to do a solo, I would do the exact opposite of what a solo usually is. Instead of playing a bunch of notes, I would just play one, though I did some decorative stuff around it there. There’re some cool, weird things in that song".
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477:. Paulson later said that the recording "was weird... because I remember sitting there, and I just knew there was something about it. I've never heard anything like this." McMahan and Walford wrote the lyrics at the last minute while in studio, although they had worked out the vocal melodies in advance using recordings of practice sessions and a
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but the band have denied this. The song, which Pajo says is his favorite from the album, is built from a two-chord guitar structure, described as a "spindly, tight riff", and a "jerky" drumbeat. During the recording of the final chorus, McMahan became physically sick due to the strain of yelling over
710:
quickens as the song develops, becoming loud and distorted at its peak, before slowing back to the original speed. "Washer" is the album's longest track, and features a low volume intro with guitar and cymbals before the rest of the band joins in the recording. The song builds until the final verse,
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The album sold only a few thousand copies within the first year. Even a few years later it was estimated to have sold fewer than 5,000 copies. Slint remained an obscure local act in the period leading up to the album's release. By the time it came out, the band had already broken up and its members
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wrote that the album cover "captures the joyous fear and violence of the album so precisely it shakes souls. The group—submerged in a lake to their chins with deranged smiles—seems to be stalking you, hovering out of the black-and-white façade." Several other promotional images have been taken from
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was unable to review the album as he had received a damaged copy from the label, and did not ask to have it replaced. McMahan admits that while the band did not seek to engage with journalists, "there wasn't really a huge infrastructure for getting information out on a broad scale. We definitely
643:
The lyrics are usually narrative in style, and have been described as "eerie" and having "peculiar syntax". Both the vocal melodies and words were written by McMahan and
Walford after the basic tracks had been recorded during practice sessions, and often were not heard by Pajo and Brashear until
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is "like an icon now. But when it came out, nobody cared! The band had broken up by the time the album came out, and it really didn't sell particularly well or get written about all that much in the year it was released. But it was a revolutionary, groundbreaking record, and it's one of the few
481:. The album mostly explored themes of coming of age and anxiety about the approach of adulthood, and McMahan did not want the lyrics or vocal style to be heard by others until the actual recordings. He said: "I did not want to rehearse the vocals...it was a one-shot, cathartic experience."
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s Stuart Berman noted how the album "motivated a cluster of semi-popular bands in the late-90s and early 2000s to adopt its whisper-to-scream schematic. It's the boundless inspiration it perpetually provides for all the bands that have yet to emerge from the basement." In 2015,
441:. ... I remember getting a tape of that and just listening to it over and over, really fucking loud." By early 1990, Rusk had agreed to pay for studio time and committed to a release their next record with Touch and Go. In July 1989, two weeks after the release of
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The band had broken up by the time Touch and Go were preparing for the album's release. As a result, a planned tour of Europe was canceled and the album received minimal promotion. It thus failed to attract an audience, make an impression on
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accessible but wrote that it "demands that you push your head up right close to the speakers (or buy some headphones) if you want to find out what is being said and sung." According to biographer Scott
Tennent, the laudatory review of the
496:. Walford later said that there was no truth to such claims, although the band was "definitely trying to be serious about things, pretty intense, which made recording the album kinda stressful." The recording was completed in four days.
718:
The instrumental "For Dinner..." begins with a quiet section of "brooding chords throb with the occasional rumble of muted toms and bass drum", the song cycles through sections of building and releasing tension. The guitars employ
1451:
reviewer Nick
Catucci, their "deeply brooding, fussily-executed album finally sounded, sixteen years later...like the existential, cosmos-annihilating shrug it was envisioned as. Which is to say: It sounded fucking great."
1406:. They reunited briefly in 2005 for an eighteen-date tour. Pajo said that they didn't "want to be a reunion band that keeps reuniting. ... I know that this is going to be it." Their 2007 performance of the album at
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1216:" were "hailing them as guiding lights for a new obliqueness". "It's not surprising these records confused people on first release", he wrote, in part because listeners had been primed to expect straightforward
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at which they debuted early versions of the songs: "Nosferatu Man", "Breadcrumb Trail", "Good
Morning, Captain" and "Washer". That June, they performed nearly finalized instrumental renditions of the
1284:, stating "when I heard it, it was unlike anything I’d heard before. I still don’t know if I have heard anything else like it, now. Obviously a lot of bands take a lot from it – I know that we did."
322:
initially attracted little critical attention and sold poorly. However, a warm reception from UK music papers and gradually increasing sales in subsequent years helped it develop a significant
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genre". Peschek described it as "the ur-text for what became known as post-rock, a fractured, almost geometric reimagining of rock music stripped of its dionysiac impulse." Rachel Devine of
469:
Throughout the summer of 1990, the band practiced the music for six new songs McMahan and
Walford had written for Slint's second album. The songs were recorded in August 1990 with producer
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812:
credits the image as responsible for the later mystique surrounding the publicity-shy band, and notes how "most people only had seen Slint as four heads floating in a
Kentucky quarry on
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sound featured on the EP, which would not be released until 1994, reflected both their new direction and increased musical sophistication since writing and recording their debut album.
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1198:, reviewer Mike Noon praised its "creeping success", but cautioned that the band's sound would take time to fully appreciate. In September 1992, Ben Thompson reviewed both
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published the following week. He praised the music's originality and emotional intensity, as well as the clarity and immediacy of
Paulson's production. He claimed that
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wrote that although "fans greeted as manna from heaven. the musicians' fragile, intertwining guitar lines, mumbled attempts at poetry and uninspiring
1185:... and no one still capable of being moved by rock music should miss it. In 10 years it will be a landmark and you'll have to scramble to buy a copy then."
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and recorded over four days in August 1990. The music and vocal melodies were composed throughout the summer of 1990, while lyrics were written in-studio.
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706:. Delivered in a hushed tone, the song's ambiguous lyrics depict the thoughts of an "isolated soul" before, during, and after an evening at a bar. The
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master-tapes. The bonus tracks were selected by the band and include demos, outtakes and a live performance. The transitional songs (written after
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tracks) "Pam" and "Glenn" (whose recording is described as containing one the best drum sounds Albini ever achieved) were recorded during the
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failed to attract commercial interest, but over the years succeeded in rescuing the album from an otherwise-assured relegation to obscurity.
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Critics differed in their assessment of the reunion. Some viewed the band's studio-based music as fundamentally unsuited to a live setting.
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525:
346:, inspiring a myriad of subsequent artists. Slint reunited in 2005 to perform the album in its entirety across three international tours.
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651:. The song is built from complex guitar arrangement with sharp transitions, during which the guitar fluctuates between a clean-sounding
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but concluding that "something original squirms at the core of Slint. Perhaps next time they'll reveal all." Albini, who produced
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770:
3006:"Bonnie 'Prince' Billy: 'I can't regret working with R Kelly – it made me better able to judge my behaviour and that of others'"
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616:: screeching guitar chords and gorgeous note-spinning in odd-metered instrumentals speckled with words both spoken and sung".
311:. McMahan's vocal delivery on the record alternates between spoken word, singing and shouting. The lyrics are presented in a
1342:
In the 2010s AllMusic's Mark Deming described it as one of the most singular and important albums of the '90s, and in 2003,
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described it as "genius", but only during a passing mention midway through a column on the
Kentucky scene. The writer for
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1181:. He awarded the album "ten fucking stars" and predicted that it would rise in stature, writing "It's an amazing record
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s cover. Listeners pondered the band's sparsely adorned black-and-white covers as if they were ruins bearing secrets."
488:, they were "traumatic...and one more piece of evidence supporting the theory that band members had to be periodically
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1366:, "he absence of anything resembling a tune continues to nag". Touch and Go founder Corey Rusk observed how
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guitar riff which uses high-pitched notes similar to those in "Breadcrumb Trail" and a drumbeat centered on
492:
during the completion of the album." Rumors circulated that at least one member of Slint had checked into a
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said the album was "quiet-to-loud" while still sounding like nothing before, as if "a new kind of music."
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in mid-1990, the band had developed a complex, idiosyncratic sound characterized by atypical rhythmic
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1177:—which he produced—only "hints at their genius" but had little of the "staying power" manifested on
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1414:" concert series celebrating classic albums lead to a tour that included an appearance at the 2007
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The title originates from McMahan's younger brother, who thought the record sounded "spidery". Its
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105:
5382:"Track-By-Track: Slint on Spiderland – Slint's David Pajo Takes Us Inside the Mysterious Classic"
4825:
4359:
1277:
1141:
749:
712:
637:
22:
4264:
Goldberg, Michael Alan (July 18, 2007). "The Last Time We
Reunite (Except for That Next Time)".
1390:
After Slint's break-up in November 1990, the members went on to play in other projects, notably
1356:
without the courage of their pretensions", and noted that the lyrics were not to his liking. In
687:. The chorus, featuring "jagged" distorted guitar and a beat with "thrashing cymbals with quick
582:
The album's guitar work is noted for its roomy sound, angular rhythms, dramatically alternating
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The album packaging omitted the band members' names. The lineup credits below are adapted from
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cover photograph depicts the band members treading water in the lake of an abandoned quarry in
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in either the US or the UK. The album went virtually unnoticed by the American music press or
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was less enthusiastic, and said that despite their "sad-sack affect", Slint are actually "
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802:, who was friends with the band and whose father had taken the photograph on the cover of
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Slint broke up shortly before the album's release due to McMahan's depression. In the US,
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Jennifer Hartman Records and Tapes. Buckler left the band out of dissatisfaction with
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2290:. Walford performed vocals and guitar on "Don, Aman", accompanied by Pajo on guitar.
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838:), a friend of the band and later musical collaborator with a number of its members.
727:. The closing song, "Good Morning, Captain", has been described as a tribute to the
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745:
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362:, Slint performed instrumental versions of their new songs during a concert at the
159:
626:, described the music as "structurally and in tone", saying that the band "recall
1439:
personas were poor matches for the setting and the occasion." Both DeRogatis and
1212:, and while the band's reputation had grown by that time, wrote that bands "like
1189:
had moved on to new projects, believing that Slint would be "just another blip".
748:
for its epic scope, though not its bleak mood, writing: "the extraordinary is "
553:
524:
5441:
5408:"Please Listen On Speakers, Loud: An Incomplete Collection of Bossy Liner Notes"
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in the chorus. "Nosferatu Man" is the second track and was inspired by the 1922
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484:
The recording sessions were intense, fraught, and often difficult. According to
398:(guitar, vocals) joining soon after their first performance. Their debut album
315:
style and cover themes such as unease, social anxiety, loneliness, and despair.
117:
43:
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noted that the band's performance was plagued by sound problems. According to
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1217:
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422:
416:, and was replaced with Todd Brashear. Their second recording was an untitled
383:
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57:
21:"Good Morning, Captain" redirects here. For another song with this lyric, see
3019:
856:, taken by Noel Saltzman, who also took the uncredited cover photo for their
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4417:
4266:
2439:
2367:
1308:
1304:
1300:
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1245:
752:", if it's possible to imagine Stairway to Heaven bleached of all bombast."
702:
Walford sings and plays lead guitar on "Don, Aman", a deliberate anagram of
671:
647:
The opening track, "Breadcrumb Trail", describes a day at a carnival with a
595:
335:
331:
312:
288:
134:
124:
1224:" that concealed the band's "alarmingly introverted" sound. Thompson found
433:
The 1989 studio recordings drew the attention of Corey Rusk, co-founder of
640:, whose simplicity they echo and whose style they most certainly do not".
5000:
The Secret History of Rock: The Most Influential Bands You've Never Heard
4700:
4039:
3842:
2340:
2184:
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901:
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Gordon, Scott; Modell, Josh; O'Neal, Sean; Ryan, Kyle (July 18, 2007).
4004:
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2116:
1482:
1331:
1321:"arguably the most disproportionately influential in music history".
1269:
703:
109:
4000:"Welcome back Glassjaw: The 11 most vicious post-hardcore albums ever"
2312:
1362:, journalist Mac Randall felt even though it is more accessible than
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when the tension is broken by loud distortion, followed by a lengthy
253:
on March 27, 1991. Slint's lineup at the time of recording comprised
5134:
540:. This sample contains part of the song's verse, bridge, and chorus.
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Billboard promoting Slint's performance of the album at the 2007
4525:
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652:
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named it the twelfth best album of the 1990s. Writing in 2000,
437:. He said that the album "was just so radically different than
4915:
2552:
1155:
1028:
613:
4793:"'Breadcrumb Trail' doc untangles Slint's album 'Spiderland'"
4806:
from the original on April 19, 2017 – via LATimes.com
4183:(July 15, 2007). "Pitchfork Music Fest Diary and Features".
506:
4821:: Special Issues: Rock & Roll Quarterly: Brian Paulson"
3110:
3108:
473:, who was known for his "live" recording style and minimal
3621:
1149:
The UK music press were the first to report on the album.
561:
A sample of "Good Morning, Captain", the sixth track from
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3228:
3164:
3162:
2793:
2791:
5449:
5057:"Kids Being Kids: Slint Look Back on 'Spiderland' at 30"
3510:
3508:
3149:
3147:
1307:". The album is regarded as essential to "the fabric of
785:
shows the members of Slint bathing in the secluded lake.
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2859:
2857:
2829:
2827:
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565:. This sample contains part of the song's second verse.
4041:
All Music Guide: The Definitive Guide to Popular Music
2987:
2985:
2778:
2776:
2774:
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named the album in their list of "The 11 most vicious
4326:"Math-Rock Family Tree: exploring the roots of Foals"
3495:
3493:
3468:
3466:
3381:"Mogwai's Stuart Braithwaite On Slint's 'Spiderland'"
3179:
3177:
2880:
2878:
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movements, and is cited by critics as a milestone of
241:
is the second and final studio album by the American
4422:
The Mojo Collection: The Greatest Albums of All Time
4076:"Slint Plays a Funeral Mass for the Album – Vulture"
1296:
of Pavement ranked it as among his favorite albums.
5566:
5546:
5521:
4926:"Slint Week peaks; spider photo story finally told"
4277:"Festival Diary: The 2007 Pitchfork Music Festival"
1996:
1988:
1953:
1945:
1855:
1847:
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1542:
1517:
1509:
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1462:
1292:in her 1992 "Ten For Today" list of records, while
187:
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142:
116:
101:
93:
78:
65:
30:
5326:
5304:"The Top 500 Albums of All Time, according to NME"
5206:
4948:
4791:
4509:
4467:
4349:Dominguez, Kirk ("Krk") (September–October 1991).
4021:
3839:"Slint – Music Biography, Credits and Discography"
781:, as of August 2022. The black-and-white cover of
3075:
2676:
2382:Noel Saltzman – photography ("spider photo")
1371:instances where people catch up to it later on."
590:. McMahan's singing style varies among mumbling,
5127:"Slint Announce More Performances of Spiderland"
4739:"Slint's Spiderland Gets Deluxe Box Set Reissue"
2648:
2646:
2644:
330:is widely regarded as foundational to the 1990s
1280:was struck by the "psychic playing" evident on
408:and released in 1989 on the group's self-owned
4785:– via selectmagazinescans.monkeon.co.uk.
4106:Christgau's Consumer Guide: Albums of the '90s
1058:
852:The photograph on the back cover is of a dead
5465:
5209:The Great Alternative & Indie Discography
4564:. No. 74. San Francisco – via the
2284:The Great Alternative & Indie Discography
291:scene but soon diverged sonically from their
8:
4445:Perfect Sound Forever: The Story of Pavement
4244:box rewards patient listeners, patient fans"
2626:on April 19, 2021. Retrieved April 24, 2021.
2235:"Good Morning, Captain" (Evanston Riff tape)
1761:
1723:
1673:
1623:
966:
910:
378:, after the dissolution of two local bands:
284:, Slint had met as teenagers playing in the
261:on guitar, Todd Brashear on bass guitar and
4909:(Touch and Go LP/CD) / Steel Pole Bathtub:
4363:. No. 74. Los Angeles – via the
1153:reviewed it in the March 23, 1991 issue of
798:. The photograph was taken by the musician
382:and Maurice. The founding members included
5472:
5458:
5450:
5247:Sutton, Terri (1995). "Squirrel Bait". In
5177:"Staff Lists: Top 100 Albums of the 1990s"
4703:: 666 Albums You Must Hear Before You Die!
3657:
3633:
3550:
2509:
2390:
1570:
1473:
1459:
875:
864:issues, indicating Slint's preference for
608:summarized the album's sound as "mid-'70s
36:
27:
5083:by Slint: the album that reinvented rock"
3733:". Touch and Go. Retrieved April 24, 2021
3609:
3514:
3421:
3409:
3379:Braithwaite, Stuart; Diver, Mike (2014).
3282:
3114:
5286:Continuum International Publishing Group
4694:McMahon, James (November 2011). "Slint:
4524:. Vol. VII (3rd ed.). London:
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1982:
1939:
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695:before the song ends with 30 seconds of
4924:Puckett, Jeffrey Lee (April 16, 2014).
4554:Lutz, Ramona (September–October 1991).
4478:. Vol. VI (3rd ed.). London:
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3754:
3742:
3645:
3579:"Pitchfork Music Festival 2007: Friday"
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2712:
2688:
2635:
2607:
2263:
1968:
1925:
1833:sessions but failed to make the album.
1244:is considered a major influence on the
659:in the verse to heavy and high pitched
4297:Harrington, Richard (March 18, 2005).
3778:
3705:
3597:
3499:
3484:
3472:
3457:
3433:
3318:
3195:
3099:
3063:
2884:
2865:
2848:
2753:
2616:Slint Limited 30th Anniversary T-shirt
572:
3766:
3693:
3681:
3669:
3538:
3526:
3445:
3294:
3258:
3051:
3039:
2816:
2736:
2700:
2664:
2492:
2481:
2470:
2459:
2448:
2413:
2264:
1969:
1926:
1604:
1581:
886:
7:
5380:Wojtas, Michael (October 15, 2014).
5095:from the original on March 15, 2020.
4878:"Slint, Camber Sands Holiday Centre"
4876:Peschek, David (February 28, 2005).
4846:Pattison, Louis (May 2014). "Slint:
4448:. Boston: Justin, Charles & Co.
4372:Gaerig, Chris (September 20, 2007).
4299:"'Post-Rock' Slint Briefly Reunites"
3391:from the original on October 2, 2022
3270:
3183:
2246:"Nosferatu Man" (Evanston Riff tape)
2213:"Nosferatu Man" (4-track vocal demo)
2060:"Good Morning, Captain" (Remastered)
849:the same photo session with Oldham.
744:compared "Good Morning, Captain" to
532:A sample of "Breadcrumb Trail", the
5345:. No. 103. London – via
5185:. November 17, 2003. Archived from
4942:from the original on July 14, 2020.
4591:from the original on June 24, 2019.
3915:"The Genius of Spiderland by Slint"
3826:(March 30, 1991). "Arachnophobia".
3802:
3562:
2562:The 500 Greatest Albums Of All Time
2071:"Nosferatu Man" (Basement practice)
1060:
594:, strained shouting, and a written-
5359:"Mogwai On Julia Brightly Tribute"
5336:[Touch & Go LP 64 LP]"
4861:Perry, Andrew (May 2014). "Slint:
4815:Parker, Chris (February 9, 2005).
4777:from the original on July 19, 2017
4737:Minsker, Evan (January 30, 2014).
4216:Devine, Rachel (August 16, 2007).
4128:Crock, Jason (September 5, 2006).
3873:from the original on July 12, 2018
2652:
573:Problems playing these files? See
14:
5406:Zoladz, Lindsay (July 16, 2013).
5332:[Jennifer Harman 138 CD]
5055:Shteamer, Hank (March 25, 2020).
4964:The New Rolling Stone Album Guide
4596:Male, Andrew (May 2014). "Slint:
4521:The Encyclopedia of Popular Music
4475:The Encyclopedia of Popular Music
4167:from the original on May 18, 2019
3998:Butler, Will (December 2, 2015).
3953:Berman, Stuart (April 16, 2014).
3004:Simpson, Dave (August 24, 2023).
1763:
1725:
1675:
1625:
1359:The New Rolling Stone Album Guide
968:
958:The Encyclopedia of Popular Music
912:
882:Reviews prior to the 2014 reissue
295:roots. By the time they recorded
5603:Albums produced by Brian Paulson
5325:Thompson, Ben (September 1992).
5133:. March 23, 2007. Archived from
4905:(Sub Pop Europe LP/CD) / Slint:
4194:DeRogatis, Jim (July 16, 2007).
1782:
1777:
1772:
1767:
1762:
1744:
1739:
1734:
1729:
1724:
1694:
1689:
1684:
1679:
1674:
1644:
1639:
1634:
1629:
1624:
1159:, finding its sound indebted to
1079:
1074:
1069:
1064:
1059:
987:
982:
977:
972:
967:
931:
926:
921:
916:
911:
762:
551:
522:
4573:Male, Andrew (March 26, 2014).
4238:Eakin, Marah (April 15, 2014).
4074:Catucci, Nick (July 18, 2007).
4044:(4th ed.). San Francisco:
2584:100 Greatest Albums, 1985–2005
2005:"Breadcrumb Trail" (Remastered)
1805:In 2014, Touch and Go reissued
734:The Rime of the Ancient Mariner
5357:Turner, Luke (July 11, 2014).
5033:Segal, Dave (March 10, 2005).
4790:Olsen, Mark (March 18, 2014).
4324:Diver, Mike (April 24, 2008).
3913:Baines, Huw (March 17, 2021).
2392:Release dates and formats for
1989:
1984:2014 Deluxe Remastered Version
1946:
1848:
738:the guitars. David Peschek of
457:songs during a concert at the
445:, Slint supported concerts by
1:
5254:Spin Alternative Record Guide
5077:Simpson, Dave (May 1, 2014).
4765:(Touch and Go T&G 64/CD)"
4710:Mercer, Ben (July 11, 2002).
4579:: Myth, Math & Metallica"
4218:"90s Revival – Back for Good"
1825:, but before the bulk of the
1106:Spin Alternative Record Guide
1045:The Rolling Stone Album Guide
830:cover photograph was shot by
420:(EP) commonly referred to as
4901:(March 23, 1991). "Codeine:
4759:Noon, Mike (February 1991).
4374:"Cover Stories – The B-Side"
3979:Blandford, James R. (2004).
3886:Atkins, Jamie (April 2014).
2540:Top 100 Albums of the 1990s
2082:"Washer" (Basement practice)
2049:"For Dinner..." (Remastered)
2016:"Nosferatu Man" (Remastered)
1841:All songs written by Slint.
5613:Touch and Go Records albums
4508:Larkin, Colin, ed. (1998).
3863:[Box Set] by Slint"
2449:United States & Canada
1299:Its cover was recreated by
1250:Godspeed You! Black Emperor
691:", segues into an extended
5629:
5284:. Vol. 75. New York:
4967:(4th ed.). New York:
4767:. Reviews: The New Discs.
3357:, pp. 3, 83, 137–138.
2257:"Pam" (Evanston Riff tape)
2224:"Pam" (4-track vocal demo)
943:Christgau's Consumer Guide
20:
16:1991 studio album by Slint
5487:
5035:"Slint's Casual Comeback"
4556:"Scene Reports: Kentucky"
4424:. Edinburgh: Mojo Books.
3983:. London: Omnibus Press.
2573:
2550:
2529:
2419:
2408:
2405:
2402:
2399:
2253:
2242:
2231:
2220:
2209:
2194:
2171:
2156:
2141:
2126:
2104:
2093:"Good Morning, Captain" (
2089:
2078:
2067:
2056:
2045:
2034:
2023:
2012:
2001:
1993:
1962:"Utica Quarry, Nighttime"
1958:
1950:
1915:
1904:
1893:
1882:
1871:
1860:
1852:
1612:
1609:
1589:
1586:
1576:
1472:
1192:In the February issue of
894:
891:
881:
536:from Slint's 1991 album,
368:pictured in undated photo
195:
48:Left to right: Brashear,
35:
4850:Boxset (Touch and Go)".
4130:"Interviews: Corey Rusk"
4036:Erlewine, Stephen Thomas
4027:/ 1991 / Touch & Go"
2027:"Don, Aman" (Remastered)
1498:April 15, 2014
1416:Pitchfork Music Festival
1385:Pitchfork Music Festival
1303:in the music video for "
465:Production and recording
374:Slint formed in 1986 in
82:March 27, 1991
5350:(subscription required)
5276:Tennent, Scott (2011).
5251:; Marks, Craig (eds.).
4913:(Boner/Tupelo LP/CD)".
4871:. No. 334. London.
4856:. No. 204. London.
4808:(subscription required)
4604:. No. 246. London.
3981:PJ Harvey: Siren Rising
3731:Spiderland (remastered)
1919:"Good Morning, Captain"
779:Utica Township, Indiana
729:Samuel Taylor Coleridge
675:. Its verse includes a
547:"Good Morning, Captain"
4773:. No. 8. London.
4402:(July 2005). "Slint –
4020:Carlson, Dean (2001).
3900:. No. 426. London
3076:Southern Records 2009b
2677:Southern Records 2009a
2482:USA, Canada and Japan
1408:All Tomorrow's Parties
1387:
839:
586:shifts, and irregular
511:
371:
257:on vocals and guitar,
5238:registration required
5024:registration required
4988:registration required
4947:Randall, Mac (2004).
4545:registration required
4499:registration required
4155:Deming, Mark (n.d.).
4103:(Touch and Go '91)".
4065:registration required
2715:, pp. 73–74, 81.
2299:Todd Brashear –
2160:"Brian's Song" (Post-
2038:"Washer" (Remastered)
1382:
1258:Explosions in the Sky
1167:, wrote a review for
825:
510:
357:
249:. It was released by
5309:Consequence of Sound
5189:on December 29, 2010
4997:Sarig, Roni (1998).
4936:Louisville, Kentucky
4386:on February 20, 2008
4111:St. Martin's Griffin
3946:Touch and Go Records
2424:Touch and Go Records
2145:"Todd's Song" (Post-
1572:Professional ratings
877:Professional ratings
842:Chris Gaerig of the
665:German Expressionist
494:psychiatric hospital
435:Touch and Go Records
394:(bass guitar), with
376:Louisville, Kentucky
282:Louisville, Kentucky
251:Touch and Go Records
42:Cover photograph by
5392:Lexington, Virginia
4931:The Courier-Journal
4645:"Don, Aman – Slint"
4311:on February 6, 2012
4304:The Washington Post
4034:; Woodstra, Chris;
3938:(director) (2014).
3210:, pp. 131–132.
2396:
1985:
1942:
1941:Digital bonus track
1573:
1022:"Ten fucking stars"
878:
756:Title and packaging
370:) on June 23, 1990.
280:Forming in 1986 in
106:River North Records
5444:(list of releases)
5312:. October 25, 2013
5137:on October 6, 2008
4826:Independent Weekly
4819:Independent Weekly
4611:"Breadcrumb Trail"
4032:Bogdanov, Vladimir
3622:Gordon et al. 2007
3261:, 1:20:28–1:20:50.
2638:, pp. 53, 56.
2391:
1983:
1940:
1864:"Breadcrumb Trail"
1817:from the original
1571:
1456:Remastered box set
1388:
1278:Stuart Braithwaite
876:
840:
750:Stairway to Heaven
518:"Breadcrumb Trail"
512:
372:
23:Mule Skinner Blues
5585:
5584:
5295:978-1-4411-7026-2
5205:(1999). "Slint".
5203:Strong, Martin C.
5163:on August 3, 2009
4833:on March 30, 2018
4799:Los Angeles Times
4724:on March 30, 2018
4336:on March 30, 2018
4201:Chicago Sun-Times
4186:Chicago Sun-Times
4142:on March 30, 2018
4097:Christgau, Robert
2691:, pp. 71–72.
2594:
2593:
2503:
2502:
2344:(tracks 1–2, 4–6)
2332:(tracks 1–2, 4–6)
2304:(tracks 1–2, 4–6)
2274:
2273:
2177:Cortez the Killer
2149:song in progress)
1979:
1978:
1936:
1935:
1809:and a version of
1803:
1802:
1569:
1568:
1432:Chicago Sun-Times
1404:The For Carnation
1118:
1117:
723:, and do not use
556:
527:
490:institutionalized
428:instrumental rock
358:Before recording
344:experimental rock
234:
233:
230:
229:
5620:
5575:Breadcrumb Trail
5474:
5467:
5460:
5451:
5424:
5422:
5420:
5402:
5400:
5398:
5376:
5374:
5372:
5353:
5351:
5338:
5321:
5319:
5317:
5299:
5272:
5243:
5241:
5233:Internet Archive
5231:– via the
5212:
5198:
5196:
5194:
5172:
5170:
5168:
5159:. Archived from
5156:Southern Records
5146:
5144:
5142:
5122:
5120:
5118:
5113:on July 16, 2009
5109:. Archived from
5106:Southern Records
5096:
5073:
5071:
5069:
5051:
5049:
5047:
5029:
5027:
5019:Internet Archive
5017:– via the
4993:
4991:
4983:Internet Archive
4981:– via the
4959:Hoard, Christian
4955:Brackett, Nathan
4952:
4943:
4920:
4894:
4892:
4890:
4872:
4857:
4842:
4840:
4838:
4829:. Archived from
4811:
4809:
4795:
4786:
4784:
4782:
4755:
4753:
4751:
4733:
4731:
4729:
4720:. Archived from
4706:
4690:
4688:
4686:
4673:
4671:
4669:
4656:
4654:
4652:
4639:
4637:
4635:
4622:
4620:
4618:
4605:
4592:
4569:
4566:Internet Archive
4561:Maximumrocknroll
4550:
4548:
4540:Internet Archive
4538:– via the
4528:. p. 5075.
4517:
4504:
4502:
4494:Internet Archive
4492:– via the
4471:
4459:
4435:
4413:
4395:
4393:
4391:
4382:. Archived from
4368:
4365:Internet Archive
4345:
4343:
4341:
4332:. Archived from
4330:Drowned in Sound
4320:
4318:
4316:
4307:. Archived from
4293:
4291:
4289:
4271:
4260:
4258:
4256:
4234:
4232:
4230:
4212:
4210:
4208:
4190:
4176:
4174:
4172:
4151:
4149:
4147:
4138:. Archived from
4124:
4099:(2000). "Slint:
4092:
4090:
4088:
4070:
4068:
4060:Internet Archive
4058:– via the
4029:
4016:
4014:
4012:
3994:
3975:
3973:
3971:
3949:
3944:(DVD). Chicago:
3941:Breadcrumb Trail
3931:
3929:
3927:
3909:
3907:
3905:
3897:Record Collector
3882:
3880:
3878:
3853:
3851:
3849:
3833:
3809:
3800:
3794:
3788:
3782:
3776:
3770:
3764:
3758:
3752:
3746:
3740:
3734:
3727:
3721:
3715:
3709:
3703:
3697:
3691:
3685:
3679:
3673:
3667:
3661:
3655:
3649:
3643:
3637:
3631:
3625:
3619:
3613:
3607:
3601:
3595:
3589:
3588:
3587:. July 15, 2007.
3575:
3569:
3560:
3554:
3548:
3542:
3536:
3530:
3524:
3518:
3512:
3503:
3497:
3488:
3482:
3476:
3470:
3461:
3455:
3449:
3443:
3437:
3431:
3425:
3419:
3413:
3407:
3401:
3400:
3398:
3396:
3376:
3370:
3364:
3358:
3352:
3346:
3340:
3334:
3328:
3322:
3316:
3310:
3304:
3298:
3292:
3286:
3280:
3274:
3268:
3262:
3256:
3250:
3244:
3238:
3232:
3223:
3217:
3211:
3205:
3199:
3193:
3187:
3181:
3172:
3166:
3157:
3151:
3142:
3136:
3130:
3124:
3118:
3112:
3103:
3097:
3091:
3085:
3079:
3073:
3067:
3061:
3055:
3049:
3043:
3037:
3031:
3030:
3028:
3026:
3001:
2995:
2989:
2980:
2974:
2963:
2957:
2951:
2945:
2936:
2930:
2924:
2918:
2912:
2906:
2900:
2894:
2888:
2882:
2869:
2863:
2852:
2846:
2837:
2831:
2820:
2814:
2801:
2795:
2786:
2780:
2769:
2763:
2757:
2751:
2740:
2734:
2728:
2722:
2716:
2710:
2704:
2698:
2692:
2686:
2680:
2674:
2668:
2662:
2656:
2650:
2639:
2633:
2627:
2622:. Archived from
2612:
2510:
2397:
2353:
2349:
2348:(tracks 2, 3, 6)
2345:
2333:
2329:
2317:
2305:
2288:Martin C. Strong
2267:
2187:, March 3, 1989)
1991:
1986:
1972:
1948:
1943:
1929:
1850:
1845:
1787:
1786:
1785:
1781:
1780:
1776:
1775:
1771:
1770:
1766:
1765:
1756:Record Collector
1749:
1748:
1747:
1743:
1742:
1738:
1737:
1733:
1732:
1728:
1727:
1699:
1698:
1697:
1693:
1692:
1688:
1687:
1683:
1682:
1678:
1677:
1649:
1648:
1647:
1643:
1642:
1638:
1637:
1633:
1632:
1628:
1627:
1582:Aggregate scores
1574:
1565:
1538:
1534:
1529:
1528:
1524:
1505:
1503:
1477:
1468:
1467:
1460:
1350:Robert Christgau
1327:
1184:
1136:Maximumrocknroll
1111:
1096:
1084:
1083:
1082:
1078:
1077:
1073:
1072:
1068:
1067:
1063:
1062:
1055:
1048:
1034:
1019:
1004:
992:
991:
990:
986:
985:
981:
980:
976:
975:
971:
970:
963:
948:
936:
935:
934:
930:
929:
925:
924:
920:
919:
915:
914:
907:
879:
858:untitled 1994 EP
836:pictured in 2009
818:
773:Panorama of the
766:
558:
557:
529:
528:
509:
459:Kentucky Theater
404:was recorded by
364:Kentucky Theater
223:
197:
196:
154:
153:
149:
89:
87:
60:
40:
28:
5628:
5627:
5623:
5622:
5621:
5619:
5618:
5617:
5588:
5587:
5586:
5581:
5562:
5542:
5517:
5483:
5478:
5432:
5427:
5418:
5416:
5405:
5396:
5394:
5387:Under the Radar
5379:
5370:
5368:
5356:
5349:
5324:
5315:
5313:
5302:
5296:
5275:
5269:
5246:
5235:
5229:
5219:Canongate Books
5201:
5192:
5190:
5175:
5166:
5164:
5151:"Slint Gallery"
5149:
5140:
5138:
5125:
5116:
5114:
5099:
5076:
5067:
5065:
5054:
5045:
5043:
5032:
5021:
5015:
5005:Billboard Books
4996:
4985:
4979:
4946:
4923:
4897:
4888:
4886:
4875:
4860:
4845:
4836:
4834:
4814:
4807:
4789:
4780:
4778:
4758:
4749:
4747:
4736:
4727:
4725:
4717:Dallas Observer
4709:
4693:
4684:
4682:
4679:"For Dinner..."
4677:Maginnis, Tom.
4676:
4667:
4665:
4660:Maginnis, Tom.
4659:
4650:
4648:
4643:Maginnis, Tom.
4642:
4633:
4631:
4628:"Nosferatu Man"
4626:Maginnis, Tom.
4625:
4616:
4614:
4609:Maginnis, Tom.
4608:
4595:
4572:
4553:
4542:
4536:
4507:
4496:
4490:
4462:
4456:
4438:
4432:
4416:
4398:
4389:
4387:
4371:
4348:
4339:
4337:
4323:
4314:
4312:
4296:
4287:
4285:
4274:
4263:
4254:
4252:
4237:
4228:
4226:
4215:
4206:
4204:
4193:
4179:
4170:
4168:
4154:
4145:
4143:
4127:
4121:
4095:
4086:
4084:
4073:
4062:
4056:
4019:
4010:
4008:
3997:
3991:
3978:
3969:
3967:
3952:
3934:
3925:
3923:
3912:
3903:
3901:
3885:
3876:
3874:
3856:
3847:
3845:
3837:Ankeny, Jason.
3836:
3822:
3818:
3813:
3812:
3801:
3797:
3789:
3785:
3777:
3773:
3765:
3761:
3753:
3749:
3741:
3737:
3728:
3724:
3716:
3712:
3704:
3700:
3692:
3688:
3680:
3676:
3668:
3664:
3656:
3652:
3644:
3640:
3634:DeRogatis 2007b
3632:
3628:
3620:
3616:
3608:
3604:
3596:
3592:
3577:
3576:
3572:
3561:
3557:
3551:Harrington 2005
3549:
3545:
3537:
3533:
3525:
3521:
3513:
3506:
3498:
3491:
3483:
3479:
3471:
3464:
3456:
3452:
3444:
3440:
3432:
3428:
3420:
3416:
3408:
3404:
3394:
3392:
3378:
3377:
3373:
3365:
3361:
3353:
3349:
3341:
3337:
3329:
3325:
3317:
3313:
3305:
3301:
3293:
3289:
3281:
3277:
3269:
3265:
3257:
3253:
3249:, p. 5075.
3245:
3241:
3233:
3226:
3218:
3214:
3206:
3202:
3194:
3190:
3182:
3175:
3167:
3160:
3152:
3145:
3137:
3133:
3129:, p. 4969.
3125:
3121:
3113:
3106:
3098:
3094:
3086:
3082:
3074:
3070:
3062:
3058:
3050:
3046:
3038:
3034:
3024:
3022:
3003:
3002:
2998:
2990:
2983:
2975:
2966:
2958:
2954:
2946:
2939:
2931:
2927:
2919:
2915:
2907:
2903:
2895:
2891:
2883:
2872:
2864:
2855:
2847:
2840:
2832:
2823:
2815:
2804:
2796:
2789:
2781:
2772:
2764:
2760:
2752:
2743:
2735:
2731:
2723:
2719:
2711:
2707:
2699:
2695:
2687:
2683:
2675:
2671:
2663:
2659:
2651:
2642:
2634:
2630:
2613:
2609:
2604:
2599:
2558:United Kingdom
2508:
2444:
2428:
2417:March 27, 1991
2389:
2387:Release history
2358:Other personnel
2351:
2347:
2343:
2331:
2328:(tracks 1–4, 6)
2327:
2315:
2303:
2280:
2275:
2265:
1980:
1970:
1937:
1927:
1908:"For Dinner..."
1875:"Nosferatu Man"
1839:
1783:
1778:
1773:
1768:
1745:
1740:
1735:
1730:
1695:
1690:
1685:
1680:
1645:
1640:
1635:
1630:
1563:
1532:
1530:
1526:
1522:
1521:
1501:
1499:
1490:
1465:
1464:
1458:
1420:Primavera Sound
1412:Don't Look Back
1377:
1325:
1294:Bob Nastanovich
1239:
1182:
1109:
1094:
1080:
1075:
1070:
1065:
1049:
1042:
1032:
1017:
1002:
988:
983:
978:
973:
962:(1998, 3rd ed.)
961:
946:
932:
927:
922:
917:
906:(2001, 4th ed.)
905:
902:All Music Guide
874:
868:audio devices.
816:
792:black-and-white
788:
787:
786:
772:
767:
758:
721:standard tuning
588:time signatures
580:
579:
571:
569:
568:
567:
566:
559:
552:
549:
543:
542:
541:
530:
523:
520:
513:
507:
502:
467:
352:
309:song structures
225:
219:
214:
205:
151:
147:
146:
85:
83:
74:
61:
47:
46:
26:
17:
12:
11:
5:
5626:
5624:
5616:
5615:
5610:
5605:
5600:
5590:
5589:
5583:
5582:
5580:
5579:
5570:
5568:
5564:
5563:
5561:
5560:
5550:
5548:
5547:Extended plays
5544:
5543:
5541:
5540:
5533:
5525:
5523:
5519:
5518:
5516:
5515:
5512:
5509:
5504:
5499:
5494:
5488:
5485:
5484:
5479:
5477:
5476:
5469:
5462:
5454:
5446:
5445:
5431:
5430:External links
5428:
5426:
5425:
5403:
5377:
5354:
5347:Exact Editions
5339:. Soundcheck.
5322:
5300:
5294:
5273:
5267:
5249:Weisbard, Eric
5244:
5227:
5199:
5173:
5147:
5123:
5097:
5074:
5052:
5030:
5013:
4994:
4977:
4969:Fireside Books
4944:
4921:
4899:Pouncey, Edwin
4895:
4873:
4858:
4843:
4812:
4787:
4756:
4734:
4707:
4691:
4674:
4657:
4640:
4623:
4606:
4593:
4570:
4551:
4534:
4505:
4488:
4466:, ed. (1998).
4460:
4454:
4440:Jovanovic, Rob
4436:
4430:
4414:
4396:
4379:Michigan Daily
4369:
4346:
4321:
4294:
4272:
4261:
4235:
4213:
4191:
4181:DeRogatis, Jim
4177:
4152:
4125:
4119:
4093:
4071:
4054:
4046:Backbeat Books
4017:
3995:
3989:
3976:
3950:
3932:
3910:
3883:
3857:Anon. (n.d.).
3854:
3834:
3819:
3817:
3814:
3811:
3810:
3795:
3793:, p. 100.
3783:
3781:, p. 579.
3771:
3759:
3747:
3735:
3722:
3710:
3698:
3696:, p. 124.
3686:
3674:
3662:
3658:Metacritic n.d
3650:
3638:
3626:
3614:
3610:DeRogatis 2007
3602:
3590:
3570:
3555:
3543:
3531:
3519:
3515:Pitchfork 2003
3504:
3489:
3477:
3462:
3450:
3438:
3426:
3424:, p. 129.
3422:Jovanovic 2004
3414:
3410:Blandford 2004
3402:
3385:clashmusic.com
3371:
3359:
3347:
3335:
3333:, p. 136.
3323:
3311:
3299:
3287:
3285:, p. 103.
3283:Dominguez 1991
3275:
3263:
3251:
3239:
3237:, p. 137.
3224:
3222:, p. 131.
3212:
3200:
3198:, p. 373.
3188:
3173:
3171:, p. 744.
3158:
3143:
3141:, p. 105.
3131:
3119:
3117:, p. 285.
3115:Christgau 2000
3104:
3092:
3080:
3068:
3056:
3054:, p. 267.
3044:
3032:
2996:
2981:
2964:
2952:
2937:
2925:
2913:
2911:, p. 107.
2901:
2889:
2870:
2853:
2838:
2821:
2819:, p. 640.
2802:
2800:, p. 369.
2787:
2770:
2758:
2741:
2739:, 55:54–56:36.
2729:
2727:, pp. 69.
2717:
2705:
2703:, 47:49–48:02.
2693:
2681:
2669:
2667:, p. 266.
2657:
2640:
2628:
2606:
2605:
2603:
2600:
2598:
2595:
2592:
2591:
2588:
2585:
2582:
2581:United States
2579:
2571:
2570:
2567:
2564:
2559:
2556:
2548:
2547:
2544:
2541:
2538:
2537:United States
2535:
2527:
2526:
2523:
2520:
2517:
2514:
2507:
2504:
2501:
2500:
2497:
2494:
2490:
2489:
2486:
2483:
2479:
2478:
2475:
2472:
2468:
2467:
2464:
2461:
2457:
2456:
2453:
2450:
2446:
2445:
2443:
2442:
2437:
2431:
2429:
2427:
2426:
2420:
2418:
2415:
2411:
2410:
2407:
2404:
2401:
2388:
2385:
2384:
2383:
2380:
2371:
2370:("band photo")
2360:
2359:
2355:
2354:
2334:
2318:
2306:
2296:
2295:
2279:
2276:
2272:
2271:
2268:
2262:
2261:
2258:
2255:
2251:
2250:
2247:
2244:
2240:
2239:
2236:
2233:
2229:
2228:
2225:
2222:
2218:
2217:
2214:
2211:
2207:
2206:
2203:
2196:
2192:
2191:
2188:
2173:
2169:
2168:
2165:
2158:
2154:
2153:
2150:
2143:
2139:
2138:
2135:
2128:
2124:
2123:
2120:
2106:
2102:
2101:
2098:
2091:
2087:
2086:
2083:
2080:
2076:
2075:
2072:
2069:
2065:
2064:
2061:
2058:
2054:
2053:
2050:
2047:
2043:
2042:
2039:
2036:
2032:
2031:
2028:
2025:
2021:
2020:
2017:
2014:
2010:
2009:
2006:
2003:
1999:
1998:
1995:
1992:
1981:
1977:
1976:
1973:
1967:
1966:
1963:
1960:
1956:
1955:
1952:
1949:
1938:
1934:
1933:
1930:
1924:
1923:
1920:
1917:
1913:
1912:
1909:
1906:
1902:
1901:
1898:
1895:
1891:
1890:
1887:
1884:
1880:
1879:
1876:
1873:
1869:
1868:
1865:
1862:
1858:
1857:
1854:
1851:
1843:
1838:
1835:
1813:remastered by
1801:
1800:
1797:
1789:
1788:
1759:
1751:
1750:
1721:
1713:
1712:
1709:
1701:
1700:
1671:
1663:
1662:
1659:
1651:
1650:
1621:
1615:
1614:
1611:
1607:
1606:
1602:
1601:
1598:
1592:
1591:
1588:
1584:
1583:
1579:
1578:
1567:
1566:
1558:
1552:
1551:
1546:
1540:
1539:
1519:
1515:
1514:
1511:
1507:
1506:
1496:
1492:
1491:
1486:
1479:
1478:
1470:
1469:
1457:
1454:
1376:
1373:
1339:albums ever."
1238:
1235:
1116:
1115:
1112:
1101:
1100:
1097:
1086:
1085:
1056:
1039:
1038:
1035:
1024:
1023:
1020:
1009:
1008:
1005:
994:
993:
964:
953:
952:
949:
938:
937:
908:
897:
896:
893:
889:
888:
884:
883:
873:
870:
845:Michigan Daily
796:Utica, Indiana
769:
768:
761:
760:
759:
757:
754:
725:effects pedals
649:fortune-teller
620:, writing for
570:
560:
550:
545:
544:
531:
521:
516:
515:
514:
505:
504:
503:
501:
498:
466:
463:
351:
348:
324:cult following
307:and irregular
232:
231:
228:
227:
216:
207:
193:
192:
185:
184:
174:
168:
167:
162:
156:
155:
144:
140:
139:
138:
137:
132:
127:
120:
114:
113:
103:
99:
98:
95:
91:
90:
80:
76:
75:
70:
63:
62:
41:
33:
32:
15:
13:
10:
9:
6:
4:
3:
2:
5625:
5614:
5611:
5609:
5606:
5604:
5601:
5599:
5596:
5595:
5593:
5578:
5576:
5572:
5571:
5569:
5567:Documentaries
5565:
5559:
5557:
5552:
5551:
5549:
5545:
5539:
5538:
5534:
5532:
5531:
5527:
5526:
5524:
5522:Studio albums
5520:
5513:
5511:Todd Brashear
5510:
5508:
5507:Ethan Buckler
5505:
5503:
5502:Britt Walford
5500:
5498:
5495:
5493:
5492:Brian McMahan
5490:
5489:
5486:
5482:
5475:
5470:
5468:
5463:
5461:
5456:
5455:
5452:
5448:
5443:
5439:
5438:
5434:
5433:
5429:
5415:
5414:
5409:
5404:
5393:
5389:
5388:
5383:
5378:
5366:
5365:
5360:
5355:
5348:
5344:
5343:
5337:
5335:
5331:
5323:
5311:
5310:
5305:
5301:
5297:
5291:
5287:
5283:
5279:
5274:
5270:
5268:0-679-75574-8
5264:
5260:
5259:Vintage Books
5256:
5255:
5250:
5245:
5239:
5234:
5230:
5228:0-86241-913-1
5224:
5220:
5216:
5211:
5210:
5204:
5200:
5188:
5184:
5183:
5178:
5174:
5162:
5158:
5157:
5152:
5148:
5136:
5132:
5128:
5124:
5112:
5108:
5107:
5102:
5098:
5094:
5090:
5089:
5084:
5082:
5075:
5064:
5063:
5062:Rolling Stone
5058:
5053:
5042:
5041:
5036:
5031:
5025:
5020:
5016:
5014:0-8230-7669-5
5010:
5006:
5002:
5001:
4995:
4989:
4984:
4980:
4978:0-7432-0169-8
4974:
4970:
4966:
4965:
4960:
4956:
4951:
4945:
4941:
4937:
4933:
4932:
4927:
4922:
4918:
4917:
4912:
4908:
4904:
4900:
4896:
4885:
4884:
4879:
4874:
4870:
4869:
4864:
4859:
4855:
4854:
4849:
4844:
4832:
4828:
4827:
4822:
4820:
4813:
4805:
4801:
4800:
4794:
4788:
4776:
4772:
4771:
4766:
4764:
4757:
4746:
4745:
4740:
4735:
4723:
4719:
4718:
4713:
4708:
4704:
4702:
4697:
4692:
4680:
4675:
4663:
4658:
4646:
4641:
4629:
4624:
4612:
4607:
4603:
4599:
4594:
4590:
4586:
4585:
4580:
4578:
4571:
4567:
4563:
4562:
4557:
4552:
4546:
4541:
4537:
4535:0-333-74134-X
4531:
4527:
4523:
4522:
4516:
4514:
4506:
4500:
4495:
4491:
4489:0-333-74134-X
4485:
4481:
4477:
4476:
4470:
4465:
4464:Larkin, Colin
4461:
4457:
4455:1-932112-07-3
4451:
4447:
4446:
4441:
4437:
4433:
4431:1-84195-067-X
4427:
4423:
4419:
4415:
4411:
4410:
4405:
4401:
4397:
4385:
4381:
4380:
4375:
4370:
4366:
4362:
4361:
4356:
4354:
4347:
4335:
4331:
4327:
4322:
4310:
4306:
4305:
4300:
4295:
4284:
4283:
4282:The A.V. Club
4278:
4273:
4269:
4268:
4262:
4251:
4250:
4249:The A.V. Club
4245:
4243:
4236:
4225:
4224:
4219:
4214:
4203:
4202:
4197:
4196:"Indie Oasis"
4192:
4188:
4187:
4182:
4178:
4166:
4162:
4160:
4153:
4141:
4137:
4136:
4131:
4126:
4122:
4120:0-312-24560-2
4116:
4112:
4108:
4107:
4102:
4098:
4094:
4083:
4082:
4077:
4072:
4066:
4061:
4057:
4055:0-87930-627-0
4051:
4047:
4043:
4042:
4037:
4033:
4028:
4026:
4018:
4007:
4006:
4001:
3996:
3992:
3990:1-84449-433-0
3986:
3982:
3977:
3966:
3965:
3960:
3958:
3951:
3947:
3943:
3942:
3937:
3933:
3922:
3921:
3916:
3911:
3899:
3898:
3893:
3891:
3884:
3872:
3868:
3864:
3862:
3855:
3844:
3840:
3835:
3831:
3830:
3825:
3824:Albini, Steve
3821:
3820:
3815:
3807:
3805:
3799:
3796:
3792:
3787:
3784:
3780:
3775:
3772:
3768:
3763:
3760:
3756:
3751:
3748:
3745:, p. 72.
3744:
3739:
3736:
3732:
3726:
3723:
3720:, p. 85.
3719:
3718:Pattison 2014
3714:
3711:
3707:
3702:
3699:
3695:
3690:
3687:
3683:
3678:
3675:
3671:
3666:
3663:
3659:
3654:
3651:
3647:
3642:
3639:
3635:
3630:
3627:
3623:
3618:
3615:
3611:
3606:
3603:
3599:
3594:
3591:
3586:
3585:
3580:
3574:
3571:
3567:
3565:
3559:
3556:
3552:
3547:
3544:
3540:
3535:
3532:
3528:
3523:
3520:
3516:
3511:
3509:
3505:
3501:
3496:
3494:
3490:
3486:
3481:
3478:
3474:
3469:
3467:
3463:
3459:
3454:
3451:
3447:
3442:
3439:
3435:
3430:
3427:
3423:
3418:
3415:
3412:, p. 37.
3411:
3406:
3403:
3390:
3386:
3382:
3375:
3372:
3368:
3367:Goldberg 2007
3363:
3360:
3356:
3351:
3348:
3345:, p. 69.
3344:
3343:Thompson 1992
3339:
3336:
3332:
3327:
3324:
3320:
3315:
3312:
3308:
3303:
3300:
3296:
3291:
3288:
3284:
3279:
3276:
3273:, p. 59.
3272:
3267:
3264:
3260:
3255:
3252:
3248:
3243:
3240:
3236:
3231:
3229:
3225:
3221:
3216:
3213:
3209:
3204:
3201:
3197:
3192:
3189:
3186:, p. 73.
3185:
3180:
3178:
3174:
3170:
3165:
3163:
3159:
3156:, p. 36.
3155:
3150:
3148:
3144:
3140:
3135:
3132:
3128:
3123:
3120:
3116:
3111:
3109:
3105:
3101:
3096:
3093:
3089:
3084:
3081:
3077:
3072:
3069:
3065:
3060:
3057:
3053:
3048:
3045:
3041:
3036:
3033:
3021:
3017:
3013:
3012:
3007:
3000:
2997:
2993:
2988:
2986:
2982:
2978:
2973:
2971:
2969:
2965:
2961:
2956:
2953:
2949:
2944:
2942:
2938:
2934:
2929:
2926:
2922:
2917:
2914:
2910:
2905:
2902:
2899:, p. 74.
2898:
2893:
2890:
2886:
2881:
2879:
2877:
2875:
2871:
2868:, p. 35.
2867:
2862:
2860:
2858:
2854:
2850:
2845:
2843:
2839:
2835:
2834:Shteamer 2020
2830:
2828:
2826:
2822:
2818:
2813:
2811:
2809:
2807:
2803:
2799:
2794:
2792:
2788:
2784:
2779:
2777:
2775:
2771:
2768:, p. 57.
2767:
2762:
2759:
2755:
2750:
2748:
2746:
2742:
2738:
2733:
2730:
2726:
2721:
2718:
2714:
2709:
2706:
2702:
2697:
2694:
2690:
2685:
2682:
2678:
2673:
2670:
2666:
2661:
2658:
2654:
2649:
2647:
2645:
2641:
2637:
2632:
2629:
2625:
2621:
2617:
2611:
2608:
2601:
2596:
2589:
2586:
2583:
2580:
2578:
2577:
2572:
2568:
2565:
2563:
2560:
2557:
2555:
2554:
2549:
2545:
2542:
2539:
2536:
2534:
2533:
2528:
2524:
2521:
2518:
2515:
2512:
2511:
2505:
2498:
2495:
2491:
2487:
2484:
2480:
2476:
2473:
2469:
2465:
2463:Jan 20, 2004
2462:
2458:
2454:
2451:
2447:
2441:
2438:
2436:
2433:
2432:
2430:
2425:
2422:
2421:
2416:
2412:
2398:
2395:
2386:
2381:
2379:
2375:
2374:Brian Paulson
2372:
2369:
2365:
2362:
2361:
2357:
2356:
2342:
2338:
2337:Britt Walford
2335:
2326:
2322:
2321:Brian McMahan
2319:
2314:
2310:
2307:
2302:
2298:
2297:
2293:
2292:
2291:
2289:
2285:
2277:
2269:
2266:Total length:
2259:
2256:
2252:
2248:
2245:
2241:
2237:
2234:
2230:
2226:
2223:
2219:
2215:
2212:
2208:
2204:
2201:
2197:
2193:
2189:
2186:
2182:
2178:
2174:
2170:
2166:
2163:
2159:
2155:
2151:
2148:
2144:
2140:
2136:
2133:
2129:
2125:
2121:
2118:
2115:
2111:
2108:"Pam" (Rough
2107:
2103:
2099:
2096:
2092:
2088:
2084:
2081:
2077:
2073:
2070:
2066:
2062:
2059:
2055:
2051:
2048:
2044:
2040:
2037:
2033:
2029:
2026:
2022:
2018:
2015:
2011:
2007:
2004:
2000:
1987:
1974:
1971:Total length:
1964:
1961:
1957:
1944:
1931:
1928:Total length:
1921:
1918:
1914:
1910:
1907:
1903:
1899:
1896:
1892:
1888:
1885:
1881:
1877:
1874:
1870:
1866:
1863:
1859:
1846:
1842:
1837:Track listing
1836:
1834:
1832:
1828:
1824:
1820:
1816:
1812:
1808:
1798:
1796:
1795:
1791:
1790:
1760:
1758:
1757:
1753:
1752:
1722:
1720:
1719:
1715:
1714:
1710:
1708:
1707:
1703:
1702:
1672:
1670:
1669:
1665:
1664:
1660:
1658:
1657:
1656:The A.V. Club
1653:
1652:
1622:
1620:
1617:
1616:
1608:
1605:Review scores
1603:
1599:
1597:
1594:
1593:
1585:
1580:
1575:
1564:(remastering)
1562:
1559:
1557:
1553:
1550:
1547:
1545:
1541:
1537:
1520:
1516:
1512:
1508:
1497:
1493:
1489:
1484:
1480:
1476:
1471:
1461:
1455:
1453:
1450:
1449:
1444:
1443:
1442:The A.V. Club
1438:
1434:
1433:
1428:
1427:Jim DeRogatis
1423:
1421:
1417:
1413:
1409:
1405:
1401:
1397:
1393:
1386:
1381:
1374:
1372:
1369:
1365:
1361:
1360:
1355:
1351:
1347:
1346:
1340:
1338:
1337:post-hardcore
1334:
1333:
1324:
1320:
1316:
1315:
1310:
1306:
1302:
1297:
1295:
1291:
1287:
1283:
1279:
1275:
1271:
1267:
1263:
1259:
1255:
1251:
1247:
1243:
1236:
1234:
1232:
1227:
1223:
1219:
1215:
1211:
1210:
1205:
1201:
1197:
1196:
1190:
1186:
1180:
1176:
1172:
1171:
1166:
1162:
1158:
1157:
1152:
1151:Edwin Pouncey
1147:
1146:avoided it."
1144:
1143:
1138:
1137:
1132:
1128:
1124:
1123:college radio
1113:
1108:
1107:
1103:
1102:
1098:
1093:
1092:
1088:
1087:
1057:
1053:
1047:
1046:
1041:
1040:
1036:
1031:
1030:
1026:
1025:
1021:
1016:
1015:
1011:
1010:
1006:
1001:
1000:
996:
995:
965:
960:
959:
955:
954:
950:
945:
944:
940:
939:
909:
904:
903:
899:
898:
890:
887:Review scores
885:
880:
871:
869:
867:
863:
859:
855:
850:
847:
846:
837:
833:
829:
824:
820:
815:
811:
810:
805:
801:
797:
793:
784:
780:
776:
771:
765:
755:
753:
751:
747:
743:
742:
736:
735:
730:
726:
722:
716:
714:
709:
705:
700:
698:
694:
690:
686:
682:
678:
674:
673:
669:
666:
662:
658:
654:
650:
645:
641:
639:
635:
634:
629:
625:
624:
619:
615:
611:
607:
606:
601:
597:
593:
589:
585:
578:
576:
564:
548:
539:
535:
534:opening track
519:
499:
497:
495:
491:
487:
482:
480:
476:
472:
471:Brian Paulson
464:
462:
460:
456:
452:
448:
444:
440:
436:
431:
429:
425:
424:
419:
418:extended play
415:
411:
407:
403:
402:
397:
396:Brian McMahan
393:
392:Ethan Buckler
389:
388:Britt Walford
385:
381:
380:Squirrel Bait
377:
369:
365:
361:
356:
349:
347:
345:
341:
337:
333:
329:
325:
321:
316:
314:
310:
306:
302:
298:
294:
293:hardcore punk
290:
287:
283:
278:
276:
275:Brian Paulson
272:
268:
264:
263:Britt Walford
260:
256:
255:Brian McMahan
252:
248:
244:
240:
239:
224:
222:
217:
213:
212:
208:
204:
203:
199:
198:
194:
190:
186:
182:
179:(credited as
178:
177:Brian Paulson
175:
173:
169:
166:
163:
161:
157:
145:
141:
136:
133:
131:
130:post-hardcore
128:
126:
123:
122:
121:
119:
115:
111:
107:
104:
100:
96:
92:
81:
77:
73:
68:
64:
59:
55:
51:
45:
39:
34:
29:
24:
19:
5608:Slint albums
5574:
5555:
5536:
5535:
5528:
5447:
5436:
5417:. Retrieved
5411:
5395:. Retrieved
5385:
5369:. Retrieved
5362:
5340:
5333:
5329:
5314:. Retrieved
5307:
5277:
5257:. New York:
5253:
5208:
5191:. Retrieved
5187:the original
5180:
5165:. Retrieved
5161:the original
5154:
5139:. Retrieved
5135:the original
5130:
5115:. Retrieved
5111:the original
5104:
5088:The Guardian
5086:
5080:
5066:. Retrieved
5060:
5044:. Retrieved
5040:The Stranger
5038:
5003:. New York:
4999:
4963:
4929:
4914:
4910:
4906:
4903:Frigid Stars
4902:
4887:. Retrieved
4883:The Guardian
4881:
4866:
4862:
4851:
4847:
4835:. Retrieved
4831:the original
4824:
4818:
4797:
4779:. Retrieved
4768:
4762:
4748:. Retrieved
4742:
4726:. Retrieved
4722:the original
4715:
4699:
4695:
4683:. Retrieved
4666:. Retrieved
4649:. Retrieved
4632:. Retrieved
4615:. Retrieved
4601:
4597:
4582:
4576:
4559:
4519:
4512:
4474:
4444:
4421:
4407:
4403:
4400:Hermes, Will
4388:. Retrieved
4384:the original
4377:
4358:
4352:
4338:. Retrieved
4334:the original
4313:. Retrieved
4309:the original
4302:
4286:. Retrieved
4280:
4265:
4253:. Retrieved
4247:
4241:
4227:. Retrieved
4221:
4205:. Retrieved
4199:
4184:
4169:. Retrieved
4163:. AllMusic.
4158:
4144:. Retrieved
4140:the original
4133:
4109:. New York:
4105:
4100:
4085:. Retrieved
4079:
4040:
4024:
4009:. Retrieved
4003:
3980:
3968:. Retrieved
3962:
3956:
3939:
3936:Bangs, Lance
3924:. Retrieved
3918:
3902:. Retrieved
3895:
3889:
3875:. Retrieved
3860:
3846:. Retrieved
3829:Melody Maker
3827:
3803:
3798:
3791:Tennent 2011
3786:
3774:
3762:
3755:Minsker 2014
3750:
3743:Tennent 2011
3738:
3725:
3713:
3701:
3689:
3677:
3665:
3653:
3646:Catucci 2007
3641:
3629:
3617:
3605:
3593:
3582:
3573:
3563:
3558:
3546:
3534:
3522:
3480:
3453:
3441:
3429:
3417:
3405:
3393:. Retrieved
3384:
3374:
3362:
3355:Tennent 2011
3350:
3338:
3331:Tennent 2011
3326:
3314:
3309:, p. 3.
3307:Tennent 2011
3302:
3290:
3278:
3266:
3254:
3247:Larkin 1998b
3242:
3235:Tennent 2011
3220:Tennent 2011
3215:
3208:Tennent 2011
3203:
3191:
3169:Randall 2004
3154:Pouncey 1991
3139:McMahon 2011
3134:
3127:Larkin 1998a
3122:
3095:
3088:Puckett 2014
3083:
3071:
3059:
3047:
3035:
3023:. Retrieved
3011:The Guardian
3009:
2999:
2992:Peschek 2005
2977:Maginnis (e)
2960:Maginnis (d)
2955:
2948:Maginnis (c)
2933:Maginnis (b)
2928:
2921:Maginnis (a)
2916:
2909:Tennent 2011
2904:
2897:Tennent 2011
2892:
2798:Carlson 2001
2783:Simpson 2014
2766:Tennent 2011
2761:
2732:
2725:Tennent 2011
2720:
2713:Tennent 2011
2708:
2696:
2689:Tennent 2011
2684:
2672:
2660:
2636:Tennent 2011
2631:
2624:the original
2620:Touch and Go
2610:
2574:
2551:
2530:
2513:Publication
2393:
2316:(tracks 1–6)
2283:
2281:
2161:
2146:
2131:
2113:
1840:
1830:
1826:
1822:
1810:
1806:
1804:
1792:
1754:
1716:
1704:
1666:
1654:
1577:2014 box set
1549:Touch and Go
1466:(remastered)
1446:
1440:
1430:
1424:
1396:The Breeders
1389:
1367:
1363:
1357:
1343:
1341:
1330:
1322:
1318:
1312:
1298:
1289:
1281:
1266:Dinosaur Jr.
1241:
1240:
1231:Melody Maker
1230:
1225:
1207:
1203:
1199:
1193:
1191:
1187:
1178:
1174:
1170:Melody Maker
1168:
1164:
1154:
1148:
1140:
1134:
1119:
1104:
1089:
1043:
1027:
1014:Melody Maker
1012:
997:
956:
941:
900:
851:
843:
841:
835:
827:
813:
809:The Stranger
807:
803:
789:
782:
746:Led Zeppelin
741:The Guardian
739:
732:
717:
701:
670:
646:
642:
633:Marquee Moon
631:
623:Melody Maker
621:
618:Steve Albini
610:King Crimson
603:
581:
562:
537:
483:
468:
454:
442:
438:
432:
421:
413:
410:record label
406:Steve Albini
399:
390:(drums) and
373:
367:
359:
327:
319:
317:
296:
279:
266:
237:
236:
235:
218:
210:
209:
200:
165:Touch and Go
67:Studio album
18:
5598:1991 albums
5442:MusicBrainz
5364:The Quietus
5193:October 13,
5167:October 14,
5117:October 13,
4889:October 13,
4712:"The Shins"
4315:October 14,
4146:October 14,
4011:January 14,
3779:Strong 1999
3706:Atkins 2014
3598:Turner 2014
3485:Butler 2015
3473:Berman 2014
3458:Devine 2007
3434:Mercer 2002
3319:Baines 2021
3196:Sutton 1995
3100:Zoladz 2013
3064:Gaerig 2007
2885:Wojtas 2014
2866:Albini 1991
2849:Hermes 2005
2754:Parker 2005
2378:engineering
2368:photography
2364:Will Oldham
2301:bass guitar
2202:vocal demo)
2179:" (Live in
1886:"Don, Aman"
1463:Spiderland
1354:art-rockers
1222:red herring
1161:Sonic Youth
854:wolf spider
832:Will Oldham
800:Will Oldham
775:quarry lake
668:silent film
638:Crazy Horse
600:Will Hermes
592:spoken word
303:, harmonic
97:August 1990
44:Will Oldham
5592:Categories
5554:Untitled (
5537:Spiderland
5497:David Pajo
5437:Spiderland
5334:Spiderland
5278:Spiderland
5091:. London.
5081:Spiderland
4907:Spiderland
4863:Spiderland
4848:Spiderland
4763:Spiderland
4696:Spiderland
4664:. AllMusic
4647:. AllMusic
4630:. AllMusic
4613:. AllMusic
4598:Spiderland
4587:. London.
4577:Spiderland
4513:Spiderland
4418:Irvin, Jim
4404:Spiderland
4353:Spiderland
4242:Spiderland
4159:Spiderland
4101:Spiderland
4025:Spiderland
3957:Spiderland
3890:Spiderland
3867:Metacritic
3861:Spiderland
3767:Olsen 2014
3694:Perry 2014
3682:Male 2014b
3670:Eakin 2014
3539:Bangs 2014
3527:Crock 2006
3500:Deming n.d
3446:Diver 2008
3295:Male 2014a
3259:Bangs 2014
3052:Sarig 1998
3040:Segal 2005
3025:August 24,
2817:Irvin 2001
2737:Bangs 2014
2701:Bangs 2014
2665:Sarig 1998
2597:References
2488:CD, vinyl
2409:Format(s)
2394:Spiderland
2309:David Pajo
2286:(1999) by
2198:"Washer" (
2162:Spiderland
2147:Spiderland
2132:Spiderland
2114:Spiderland
1831:Spiderland
1827:Spiderland
1815:Bob Weston
1811:Spiderland
1596:Metacritic
1561:Bob Weston
1502:2014-04-15
1422:festival.
1368:Spiderland
1319:Spiderland
1290:Spiderland
1282:Spiderland
1262:Lou Barlow
1242:Spiderland
1226:Spiderland
1220:—a "total
1218:noise rock
1200:Spiderland
1179:Spiderland
828:Spiderland
814:Spiderland
783:Spiderland
689:drum fills
661:distortion
628:Television
575:media help
563:Spiderland
538:Spiderland
479:four-track
455:Spiderland
386:(guitar),
384:David Pajo
360:Spiderland
350:Background
328:Spiderland
320:Spiderland
305:dissonance
297:Spiderland
286:Midwestern
271:engineered
267:Spiderland
265:on drums.
259:David Pajo
238:Spiderland
211:Spiderland
191:chronology
86:1991-03-27
31:Spiderland
5419:April 24,
5413:Pitchfork
5328:"Slint –
5316:March 27,
5215:Edinburgh
5182:Pitchfork
5068:March 26,
4919:. London.
4744:Pitchfork
4705:. London.
4685:April 24,
4668:April 24,
4651:April 24,
4634:April 24,
4617:April 24,
4575:"Slint's
4351:"Slint –
4288:April 24,
4267:SF Weekly
4240:"Slint's
4171:March 30,
4135:Pitchfork
3964:Pitchfork
3926:April 24,
3832:. London.
3584:Pitchfork
3395:April 25,
3271:Lutz 1991
3184:Noon 1991
3020:0261-3077
2602:Citations
2532:Pitchfork
2519:Accolade
2506:Accolades
2406:Label(s)
2352:(track 3)
2350:, guitar
2346:; vocals
2330:; guitar
2278:Personnel
2130:"Glenn" (
1706:Pitchfork
1513:1989–1992
1437:shoegazer
1345:Pitchfork
1323:Pitchfork
1309:math-rock
1305:New Slang
1301:The Shins
1288:included
1286:PJ Harvey
1246:post-rock
872:Reception
677:dissonant
672:Nosferatu
657:harmonics
596:narrative
451:King Kong
336:math rock
332:post-rock
313:narrative
135:math rock
125:Post-rock
5514:Tim Ruth
5371:April 5,
5367:. London
5342:The Wire
5141:April 5,
5093:Archived
5046:April 6,
4961:(eds.).
4940:Archived
4837:April 6,
4804:Archived
4781:June 23,
4775:Archived
4761:"Slint:
4750:April 4,
4728:March 5,
4701:Kerrang!
4681:AllMusic
4662:"Washer"
4589:Archived
4515:– Slint"
4442:(2004).
4420:(2001).
4390:April 5,
4360:Flipside
4340:April 5,
4255:April 6,
4229:April 5,
4223:The List
4207:April 6,
4165:Archived
4161:– Slint"
4087:March 5,
4038:(eds.).
3970:April 6,
3955:"Slint:
3892:| Slint"
3877:June 25,
3871:Archived
3848:April 6,
3843:AllMusic
3389:Archived
2516:Country
2414:Various
2376: –
2366: –
2339: –
2323: –
2311: –
2185:Illinois
2134:outtake)
1897:"Washer"
1619:AllMusic
1556:Producer
1510:Recorded
1495:Released
1485: by
1392:Tortoise
1375:Reunions
1314:The List
1214:Pavement
1209:The Wire
1142:Flipside
999:Kerrang!
697:feedback
486:AllMusic
221:Untitled
181:engineer
172:Producer
94:Recorded
79:Released
69: by
5397:May 29,
5101:"Slint"
4950:"Slint"
4469:"Slint"
4081:Vulture
4005:Gigwise
3904:June 9,
3816:Sources
2400:Region
2200:4-track
2181:Chicago
2117:outtake
1500: (
1483:Box set
1448:Vulture
1429:of the
1332:Gigwise
1317:called
1270:Sebadoh
1052:4th ed.
1050:(2004,
704:Madonna
598:style.
584:dynamic
226:(1994)
215:(1991)
206:(1989)
110:Chicago
84: (
54:Walford
50:McMahan
5577:(film)
5292:
5265:
5225:
5011:
4975:
4770:Select
4532:
4486:
4452:
4428:
4117:
4052:
3987:
3920:Guitar
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