To preface before anybody tries listening to Slint for the first time; you need to walk into their works with a very open mind or you will risk leaving with feeling like all you listened to were cryptic lyrics and repetitive guitar chords.

Slint is a band from Kentucky, and the unique vocals with a near-desperate sound to them show it. Their debut album's lyrics feel more like support to the soundtrack rather than the other way around. The first song has a very in-your-face "up and down" feel to tell the story of stumbling-and-curious teen love on a rollercoaster ride; the lyrics are an awkward teen's explanation of the encounter. There's something incredibly unique about Slint's approach to songs. The ambience of the world their stories take place in take priority over any allegory, key change, or chord progression. You step into the songs and experience a harsh, cold world before its explained to you. The percussion is intricate and well done but the most apparent mark of Slint's style is their unapologetically mechanical take on guitar. It's very repetitive, isolated, and deliberate. You can hear albums after Slint create their own take; its a fun thing to search for.

Breadcrumb Trails starts the album out strong, and this song's particular isolated strums have become the most iconic part of an album not exactly mainstream enough to have anything of the sort. Almost any videographed mention of Slint online I've found over the years uses the intro part of the song as background music. Does it come off as slightly lazy to use the literal first minute of an album when talking about it? Maybe. Nosferatu Man took me a second to really appreciate, but that song along with Washer are my favourites from the album(the latter one of my favourite songs in general). The vocals really showed their strength in a way I think Don, Aman attempted to but came short. Unfortunately, I don't know enough about Dracula or vampires as a whole to probably understand the song fully. However its darker sounds are an amazing introduction and a great example to that side of the album.

Out of the album, For Dinner... is probably the only song I couldn't throw a dart at the board and say I understand. It's also the only song without vocals in the album. It takes the most extreme aspects of Slint's slow deliberateness and stretches it even further, like creeping carefully a steadily in a hunt. Maybe that's what they were trying to convey. I'm probably entirely wrong.

Their final song is probably the most "classic rock" sounding of them all, and its the closest to traditional vocals we get from the band. Overall, I love Slint's unapologetic approach to production in a genre that oft times forgets it can really just do whatever it wants.