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A black-and-white photograph of four men swimming in a quarry lake.
Cover photograph by Will Oldham.
Left to right: Brashear, McMahan, Walford, Pajo
Studio album by
ReleasedMarch 27, 1991 (1991-03-27)
RecordedAugust–October 1990
LabelTouch and Go
ProducerBrian Paulson (credited as engineer)
Slint chronology
Untitled EP

Spiderland is the second and final studio album by the American rock band Slint. Touch and Go Records issued the album on March 27, 1991, as the band's first release on the independent label. Slint's lineup featured Brian McMahan on vocals and guitar, David Pajo on guitar, Todd Brashear on bass guitar, and Britt Walford on drums. Walford also played lead vocals and guitar on the track "Don, Aman". Brian Paulson engineered the album, which comprises six songs across approximately 40 minutes.

Slint formed in Louisville, Kentucky in 1986. The band members met as teenagers playing in the Midwestern punk scene, but Slint soon diverged from their hardcore roots. By the time they recorded Spiderland in late 1990, they had developed a complex, idiosyncratic sound. Atypical rhythmic meters, harmonic dissonance, and irregular song structures characterize the album's style. The band exerted tight control over the songs' dynamics with extreme, sometimes abrupt changes between quiet and loud. The vocals alternate between spoken word, singing, and shouting. The narrative lyrics evoke moods of unease, loneliness, and despair.

Slint broke up shortly before the album's release. At first, Spiderland prompted little critical notice and negligible sales. Over the next two decades, it sold at a slow but steady pace and its influence grew. The record's alien sound anticipated the emergence of math rock and post-rock in the mid-1990s. It attracted a cult following, and critics recognized it as a milestone of experimental rock. Since 2005, Slint reunited for three tours performing the album live in its entirety. In 2014, Touch and Go released a remastered version of the album and a deluxe box set with bonus material.


Slint formed in 1986 in Louisville, Kentucky, from the remnants of the punk rock band Squirrel Bait; the founding members included Brian McMahan (guitar, vocals), David Pajo (guitar), Britt Walford (drums) and Ethan Buckler (bass guitar). The band's debut album, the Steve Albini-produced Tweez, was released on the group's self-owned label Jennifer Hartman Records and Tapes.[1] The album's sound has been described as a combination of "scratchy guitars, thumping bass lines and hard hitting drums".[2] Buckler promptly left the band out of dissatisfaction with Albini's production, and was replaced with Todd Brashear.[citation needed] The band's second recording was for the instrumental extended play Slint, which included a new version of "Rhoda" from Tweez. The EP, which would not be released until 1994, was a departure from Tweez's sound and reflected the band's new musical direction.[3] After the band ended its brief tour in support of Tweez, most of its members attended college.[citation needed]

The 1989 studio recordings caught the ear of Corey Rusk, a co-founder of Touch and Go Records. "That was just so radically different than Tweez, and in a way that was immensely appealing to me," Rusk said. "I remember getting a tape of that and just listening to it over and over, really fucking loud."[4] By early 1990, Rusk agreed to pay for the band to record in-studio and release their next album through Touch and Go.[5]

Black and white photograph showing the facade of a performing arts building with a large sign reading "Kentucky"
Before recording Spiderland, Slint performed instrumental versions of their new songs during a concert at the Kentucky Theater (pictured in undated photo) on June 23, 1990.

On July 14, 1990, two weeks after the release of Tweez, Slint played a show supported by Crain and King Kong at which they debuted early versions of four songs: "Nosferatu Man", "Breadcrumb Trail", "Good Morning, Captain", and "Washer".[6] On June 23, 1990, performed nearly finalized instrumental renditions of the songs from Spiderland during a concert at the Kentucky Theater.[7]


Around this time[when?] McMahan and Walford began writing together for the band's next record, creating six new songs which the band practiced throughout the summer of 1990.[citation needed] Slint entered River North Records in August 1990 to record Spiderland. At that time there were no vocals or lyrics prepared for the album, so the band wrote them while in the studio.[citation needed] The album's producer, Brian Paulson, was known for his "live" recording style in the studio, with minimal takes.[8] Paulson recalled "It was weird while I was doing [Spiderland] because I remember sitting there, and I just knew there was something about it. I've never heard anything like this. I'm really digging this but it's really fucking weird."[8]

The recording sessions for Spiderland are reputed to have been difficult for the members of the band and were, according to AllMusic, "intense, traumatic and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album."[9] Rumors circulated that at least one member of Slint had been checked into a psychiatric hospital.[10] Walford later addressed these stories in an article in Select by saying, "[We were] definitely trying to be serious about things, pretty intense, which made recording the album kinda stressful."[10] The recording was completed in four days.[8]


The music of Spiderland is noted for its angular guitar rhythms, dramatically alternating dynamic shifts and irregular time signatures. McMahan's singing style interchanges between mumbling spoken word and strained shouting. The lyrics of Spiderland are often written in a narrative style. Influences on the record included Gang of Four, Black Sabbath and Sonic Youth.[11] Will Hermes of Spin summarized the album's sound as "mid-'70s King Crimson gone emo: screeching guitar chords and gorgeous note-spinning in odd-metered instrumentals speckled with words both spoken and sung".[12]

The album's opening track, "Breadcrumb Trail", describes a day spent at a carnival with a fortune-teller.[13] The song features a complex arrangement with sharp transitions, and the guitar fluctuates between a clean-sounding riff with harmonics in the verse to heavy distortion featuring extremely high-pitched notes in the chorus.[13]

"Nosferatu Man", the second track, is inspired by the 1922 German Expressionist silent film Nosferatu.[14] The song's verse includes a dissonant guitar riff, which uses high-pitched notes similar to those in "Breadcrumb Trail" and a drumbeat based on snare and toms, absent of cymbals.[14] The chorus, featuring "jagged" distorted guitar and a beat with "thrashing cymbals with quick drum fills", segues into an extended jam before the song ends with 30 seconds of feedback.[14]

"Don, Aman" features Walford on lead vocals and guitar. Delivered in a hushed tone, the song's ambiguous lyrics depict the thoughts of an "isolated soul" before, after and during an evening at a bar.[15] The tempo quickens throughout, and then becomes loud and distorted before slowing back to the original tempo.[15]

"Washer", the album's longest track, features a "barely audible" intro with guitar and cymbals before the rest of the band comes in.[16] The song builds tension until the final verse, which features loud distortion, and is followed by a lengthy outro.[16]

"For Dinner..." is an instrumental track.[17] Beginning with a quiet section of "brooding chords throb[bing] with the occasional rumble of muted toms and bass drum", the song cycles through sections of building and releasing tension.[17]

The final song of the album, "Good Morning, Captain", is a tribute to the Samuel Taylor Coleridge poem The Rime of the Ancient Mariner.[18] The song features a two chord guitar structure, a "spindly, tight riff" from the rhythm section and a "jerky" beat.[18] During the recording of the song's final chorus, McMahan became physically sick due to the strain of yelling over the guitars.[10] David Peschek of The Guardian compared "Good Morning, Captain" to Led Zeppelin's "Stairway to Heaven", writing that "the extraordinary Good Morning Captain is [Slint's] Stairway to Heaven, if it's possible to imagine Stairway to Heaven bleached of all bombast."[11]

On the iTunes edition of the album, an additional track is added to the end of the album, entitled "Utica Quarry, Nighttime". The track is, simply, 15 minutes of field recordings of Utica Quarry, the same place where the photos for Spiderland were taken.

Title and packaging[edit]

Photograph of a quarry lake, a rocky quarry wall, and spindly trees atop the wall.
Mitchell P. Howes Lime Quarry in 1988
Black-and-white photograph of a bearded man playing guitar onstage.
Will Oldham in 2009
The cover of Spiderland shows Slint swimming in a secluded quarry lake in Utica, Indiana. The photograph was shot by Will Oldham, a friend of the band and future musical collaborator with several of its members.

The name Spiderland originates from McMahan's younger brother, who thought that the record sounded "spidery".[10] The album's black-and-white cover photograph, which depicts the members of the band (Brashear, McMahan, Walford and Pajo, from left to right) treading water in the lake of an abandoned quarry, was taken by Will Oldham.[19] An article in The Stranger credited the cover for creating a mystique surrounding Slint, noting "[m]ost people only had seen Slint as four heads floating in a Kentucky quarry on Spiderland's cover. Listeners pondered the band's sparsely adorned black-and-white covers as if they were runes bearing secrets."[20] Chris Gaerig of the Michigan Daily wrote, "the cover of Slint's masterful Spiderland 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."[21] Several other promotional images have been taken from the same photo session with Oldham.[22]

The back cover features a photograph of a dead wolf spider taken by Noel Saltzman, who was also responsible for the uncredited cover photo for the band's untitled 1994 EP.[23] Saltzman encountered the spider in a shed while working a summer job and, as the spider would not remain still to be photographed, Saltzman killed it, froze it, and repositioned it with tweezers to take the shot.[23] The inside sleeve contains the message "interested female vocalists write 1864 douglas blvd. louisville, ky. 40205". McMahan confirmed that this message was serious, and said "We did get some responses and we did listen to CDs and tapes. We didn't end up doing anything immediately, so that idea of adding someone sort of fell by the wayside."[24] The message "this recording is meant to be listened to on vinyl" is printed on some CD issues of Spiderland, demonstrating Slint's preference for analog audio devices.[25]

Release and reception[edit]

Slint broke up in December 1990 in the middle of final preparations for Spiderland's release.[26] A planned tour of Europe was scrapped.[27] Under the circumstances, the album arrived without promotion and failed to find an audience.[28] It did not chart in the US or the UK.[29] It left little to no impression on college radio.[30] Fewer than 5,000 copies were sold.[note 1] The former bandmates had already moved on to new projects, and Pajo said it seemed certain Slint would be "just another blip".[32]

Initial critical reception[edit]

Professional ratings
Reviews prior to the 2014 reissue
Review scores
All Music Guide
(2001, 4th ed.)
5/5 stars[33]
(online ed.)
5/5 stars[34]
Christgau's Consumer Guide
Encyclopedia of Popular Music
(1998, 3rd ed.)
4/5 stars[36]
Melody Maker
"Ten fucking stars"[37]
The Rolling Stone Album Guide
(2004, 4th ed.)
2.5/5 stars[38]
4/5 stars[39]
Spin Alternative Record Guide

The album's release passed virtually unnoticed by the American music press.[41] Even punk zines overlooked it.[note 2] In a later interview, McMahan said that they "didn't engage with the media either way, but had we engaged, with the 'zine culture or the music press at the time, there wasn't really a huge infrastructure for getting information out on a broad scale. We definitely avoided it and it was not a considered marketing decision."[44]

Photograph of a man playing electric guitar on stage.
In a glowing review for Melody Maker, Steve Albini (pictured in 2008) predicted Spiderland would someday be seen as a "landmark".[37]

There was one major exception to the general inattention from critics: a laudatory, 600-word review by Albini in the British music magazine Melody Maker.[41] Albini praised the music's originality and emotional intensity, as well as the clarity and immediacy of Paulson's production. He claimed that Tweez—which he himself had produced—only "hints at their genius" but had little of the "staying power" manifested on Spiderland. He awarded the album "ten fucking stars" and predicted that it would rise in stature:

"It's an amazing record ... 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. Beat the rush."[37]

While Albini's review did not ignite much initial interest, it rescued the album from an otherwise-assured relegation to obscurity.[45]

Two other early reviews appeared in the UK press, both positive—though not as unreservedly enthusiastic as Albini. A review in Select noted the album's "creeping success", which reviewer Mike Noon attributed to Walford's affiliation with The Breeders. Noon cautioned that Slint's sound would take patience to fully appreciate: "As immediate as a snail trail to hell, Spiderland needs several plays to burn its way into your consciousness, but when it does..."[39] In September 1992, Ben Thompson reviewed both Spiderland and Tweez for The Wire. Thompson said that Slint's reputation was growing by that time, as "people like Pavement" 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 noise rock—a "total red herring" that concealed the band's "alarmingly introverted" sound. Although Thompson found Spiderland more accessible than Tweez, he wrote that it "still demands that you push 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. But you do want to find out."[46]

Retrospective reviews[edit]

In a retrospective review for AllMusic, Mark Deming said that Spiderland is "one of the most important indie albums of the '90s" and a "singular achievement" which found the band "working with dynamics that made the silences every bit as much presence as the guitars and drums, manipulating space and time as they stretched out and juggled time signatures, and conjuring melodies that were as sparse and fragmented as they were beautiful".[34] Robert Christgau was less enthusiastic and wrote that, despite their "sad-sack affect", Slint are actually "art-rockers without the courage of their pretensions" with poor lyrics.[35] In The New Rolling Stone Album Guide, Rolling Stone journalist Mac Randall felt that the album's music lacks songform, even though it sounds more accessible than Tweez: "[t]he absence of anything resembling a tune continues to nag."[38]

In 2003, Pitchfork wrote of Spiderland: "a heady, chilling listen; the irregularity of its hypnotic melodies, fractured beats and mismatched lyrics demand a new kind of appreciation, independent of traditional notions of songcraft. With its half-mumbled, half-hollered vocals, deliberate percussion and drone-gone-aggressive guitars, Spiderland's urgency is almost traumatic to swallow: despondency never tasted so real." They named it the twelfth best album of the 1990s.[47] In 2014, Spiderland was reissued as a box set, featuring 14 previously unreleased tracks, and received widespread critical acclaim; it holds an average score of 99 out of 100 at Metacritic, based on 11 reviews from mainstream publications.[48] In 2015, Gigwise named the album in their list "The 11 most vicious post-hardcore albums ever".[49] In 2016, Fact named it the second-best post-rock record, behind only Bark Psychosis's 1994 album Hex.[50]


Spiderland continued to sell at a steady pace for more than a decade after its initial release, which was unexpected for an album by an obscure, defunct band who had rarely performed live before splitting up.[51] According to data from Nielsen SoundScan,[note 3] 50,000 copies had been sold as of July 2005.[53] Compared to record sales by contemporaneous alternative rock bands on major labels, sales of Spiderland would be considered modest or underwhelming.[note 4] Nevertheless, music critic Sasha Frere-Jones described its sales as "staggeringly large" in light of the band's lack of "corporate connections or media support or metropolitan following whatsoever".[54] . Kory Grow of the College Music Journal suggested that the album "has inspired countless bands (and therefore fans) far beyond its SoundScan numbers".[55]

Spiderland has become a landmark indie rock album and is considered, along with Talk Talk's Spirit of Eden and Laughing Stock, to have been the primary catalyst of the post-rock genre.[56][57] The album is also regarded as being essential to "the fabric of math-rock genre".[58][59] David Peschek said that the album is "the ur-text for what became known as post-rock, a fractured, almost geometric reimagining of rock music stripped of its dionysiac impulse."[11] Rachel Devine of The List called Spiderland "arguably the most disproportionately influential [album] in music history".[60] Pitchfork reviewer Stuart Berman commented: "Spiderland's greatest legacy is not that it 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."[61]

McMahan reflected on the album's success: "We worked really hard on Spiderland. I mean, I definitely felt much more personal about it. I thought it represented us as people, musically, a lot more than Tweez did. That's about it. It seemed like when we were around, and actively playing and stuff, that people's responses to us were fairly ambivalent. I thought it was funny when the press picked up on it. For an independent release, it had a strange sort of audience and kept selling three or four years after we recorded it; it still sells more copies than when it first came out."[62] Touch and Go founder Corey Rusk said that Spiderland 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 instances where people catch up to it later on."[63]

Spiderland has also been said by Michael Alan Goldberg to have been a considerable influence on post-rock bands Mogwai, Godspeed You! Black Emperor, Isis and Explosions in the Sky.[64] Dinosaur Jr and Sebadoh member Lou Barlow said of Spiderland, "It was quiet-to-loud without sounding like grunge or indie rock. It sounded more like a new kind of music."[10] PJ Harvey has included Spiderland in a list called Ten For Today, which were records she was enjoying listening to in 1992.[65] Bob Nastanovich of Pavement[66] and Mark Clifford of Seefeel[67] have also cited Spiderland as among their favorite albums. The album cover of Spiderland was recreated by The Shins in the music video for "New Slang".[68]


An electronic billboard displaying the words "Slint" and "Spiderland".
Photograph of a rock band on an outdoor stage in daylight, performing a live concert for a crowd.
Slint at the 2007 Pitchfork Music Festival. Since 2005, the band has reunited for three tours performing Spiderland live in its entirety.

Despite having plans for a tour of Europe to promote Spiderland, Slint broke up in November 1990, after Brian McMahan decided to quit the band.[69] Members of the band went on to join other musical projects, including Tortoise, The Breeders, Palace and The For Carnation.[70] Slint reunited briefly in 2005 for an eighteen-date tour. Pajo said, "We don't want to be a reunion band that keeps reuniting. ... I know that this is going to be it."[71] However, in 2007 Slint reunited again for a tour featuring performances of Spiderland in its entirety as part of All Tomorrow's Parties' "Don't Look Back" concert series celebrating classic albums.[72] The tour included appearances at the 2007 Pitchfork Music Festival[73] and Primavera Sound Festival.[74] McMahan said in an interview at the Pitchfork Music Festival that performing the album live was "pretty cool. It moves a little slower than it does on the record, but it's all there. ... It took some getting used to, some revisiting the material and rehearsing."[75] In an August 2013 interview with Vish Khanna, former producer Steve Albini revealed that the band was working on remastering Spiderland with engineer Bob Weston.[76]

Critical responses to Slint's reunion have been mixed, with detractors commenting on the music's unsuitability for a live setting. Chicago Sun-Times music critic Jim DeRogatis wrote that although "fans greeted [Slint's performance at the Pitchfork Music Festival] as manna from heaven. [...] the musicians' fragile, intertwining guitar lines, mumbled attempts at poetry and uninspiring shoegazer personas were poor matches for the setting and the occasion, especially during the static, percussion-deprived 'Don, Aman' and the bloated anthem 'Good Morning, Captain'."[77] According to members of The A.V. Club, Slint's performance of "Don, Aman" at the festival "capture[d] the band's greatness and its greatest weakness: Slint completely lacks stage charisma, and playing a deathly quiet, moody song on a big outdoor stage just doesn't work."[78] Both DeRogatis and the A. V. Club review also noted that the band's performance was plagued by sound problems.[78][79] A New York review of a performance at Webster Hall opined "the 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."[80]

Remastered box set[edit]

Spiderland (remastered)
Photograph of a quarry lake at night.
Box set by
ReleasedApril 15, 2014 (2014-04-15)
Length1:58:35 + DVD
LabelTouch and Go
ProducerBob Weston (remastering)
Professional ratings
2014 box set
Aggregate scores
Review scores
The A.V. ClubA[81]
Mojo5/5 stars[82]
Q4/5 stars[83]
Record Collector5/5 stars[84]

In 2014, Touch and Go reissued Tweez and a version of Spiderland remastered by Bob Weston.[85] On April 15, a deluxe box set was released containing the remastered Spiderland album, fourteen previously unreleased tracks, the DVD documentary Breadcrumb Trail, and a photobook documenting Slint's history.[86] All 3,138 hand-numbered copies sold out prior to release.[87]

The bonus tracks featured in the set were selected by Slint and include demos, outtakes, and a live performance. The songs "Pam" and "Glen" (a reinterpretation of the original) were recorded during the Spiderland sessions and failed to make the album.[88] "Todd's Song" and "Brian's Song" were recorded after Spiderland while the band was briefly reformed.[89] "Cortez the Killer", a cover of the Neil Young song by the same name, was recorded on March 3, 1989, during a live performance in Chicago. Demos of "Nosferatu Man", "Washer", and "Good Morning, Captain" were also selected for the release.

Remnants of the second "bonus tracks" disc (sides E/F) from the Spiderland box set were sold separately in plastic sleeves from Touch and Go's website.[90] The disc – one of two bonus LPs from the collection – contains eight of the set's fourteen previously unreleased tracks.

Track listing[edit]

All songs written by Todd Brashear, Brian McMahan, David Pajo, and Britt Walford, except where noted.

1."Breadcrumb Trail" 5:55
2."Nosferatu Man" 5:35
3."Don, Aman"McMahan, Pajo, Walford6:28
4."Washer" 8:50
5."For Dinner..." 5:05
6."Good Morning, Captain" 7:38
2014 Deluxe Remastered Version
1."Breadcrumb Trail" (Remastered) 5:54
2."Nosferatu Man" (Remastered) 5:34
3."Don, Aman" (Remastered) 6:27
4."Washer" (Remastered) 8:49
5."For Dinner..." (Remastered) 5:05
6."Good Morning, Captain" (Remastered) 7:41
7."Nosferatu Man" (Basement practice) 7:05
8."Washer" (Basement practice) 4:48
9."Good Morning, Captain" (Demo) 7:34
10."Pam" (Rough mix of Spiderland outtake) 4:44
11."Glenn" (Spiderland outtake) 7:59
12."Todd's Song" (Post-Spiderland song in progress) 7:22
13."Brian's Song" (Post-Spiderland demo) 5:57
14."Cortez the Killer" (Live in Chicago, Illinois, March 3, 1989)Neil Young8:36
15."Washer" (4-track vocal demo) 7:21
16."Nosferatu Man" (4-track vocal demo) 5:23
17."Pam" (4-track vocal demo) 3:33
18."Good Morning, Captain" (Evanston Riff tape) 0:45
19."Nosferatu Man" (Evanston Riff tape) 3:18
20."Pam" (Evanston Riff tape) 4:39
iTunes Bonus Tracks
7."Utica Quarry, Nighttime"15:38


The album packaging omitted the band members' names.[91] The lineup credits below are adapted from The Great Alternative & Indie Discography (1999) by Martin C. Strong.[92] Walford performed vocals and guitar on "Don, Aman", accompanied by Pajo on guitar.[93]

Other personnel


Publication Country Accolade Year Rank
Alternative Press United States The 90 Greatest Albums of the 90s 1998 34[94]
Pitchfork US Top 100 Albums of the 1990s 1999 12[95]
Melody Maker United Kingdom All Time Top 100 Albums 2000 55[96]
NME UK 100 Best Albums 2003 53[97]
Spin US 100 Greatest Albums, 1985–2005 2005 94[12]


  1. ^ According to Scott Tennent, Spiderland "sold only a few thousand copies in its first year of release" without giving a precise sales figure.[31] According to The Guardian, it "sold fewer than 5,000 copies at the time" without indicating a precise time period.[19]
  2. ^ Spiderland received few mentions, if any, in review sections of zines.[41] Ramona Lutz called the album "genius" in Maximumrocknroll, albeit in passing, midway through a column giving an update on the Kentucky scene.[42] Flipside was unable to review the album—their critic declared he had received a damaged copy from the label and it was too cumbersome to have replaced.[43]
  3. ^ Nielsen SoundScan began tracking record sales in the United States and Canada in March 1991—the same month Spiderland was released. Generally speaking, independent records released before the SoundScan era almost certainly sold more copies than indicated by their reported figures, due to the unknown quantity of untracked purchases.[52] Nielsen's Spiderland tally may still be undercounted, as many independent record stores do not report to SoundScan.[51]
  4. ^ Sasha Frere-Jones compared SoundScan figures for selected releases by Slint, Nirvana, Hole, Pavement, PJ Harvey, The Breeders, and Sonic Youth. The list of artists was drawn from a discussion with fellow critic Rob Sheffield about their differing definitions of "indie rock", and Frere-Jones noted that Slint was the only one in the group that never signed to a major label.[53]



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  2. ^ Jackson, Chris (April 16, 2006). "Slint – Tweez (Album Review) | Sputnikmusic". Sputnikmusic. Retrieved October 13, 2012.
  3. ^ "Slint". southern.com. Archived from the original on July 16, 2009. Retrieved October 13, 2012.
  4. ^ Bangs 2014, 47:49–48:02.
  5. ^ Tennent 2011, pp. 73–74, 81.
  6. ^ Tennent 2011, pp. 69.
  7. ^ Bangs 2014, 55:54–56:36.
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  9. ^ Carlson, Dean. "Spiderland – Slint : Songs, Reviews, Credits, Awards : AllMusic". AllMusic. Archived from the original on June 16, 2012. Retrieved October 14, 2012.
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  12. ^ a b Hermes, Will (July 2005). "Slint – Spiderland". Spin.
  13. ^ a b Maginnis, Tom. "Breadcrumb Trail – Slint : Listen, Appearances, Song Review : AllMusic". AllMusic. Retrieved October 13, 2012.
  14. ^ a b c Maginnis, Tom. "Nosferatu Man – Slint : Listen, Appearances, Song Review : AllMusic". AllMusic. Retrieved October 13, 2012.
  15. ^ a b Maginnis, Tom. "Don, Aman – Slint : Listen, Appearances, Song Review : AllMusic". AllMusic. Retrieved October 13, 2012.
  16. ^ a b Maginnis, Tom. "Washer – Slint : Listen, Appearances, Song Review : AllMusic". AllMusic. Retrieved October 13, 2012.
  17. ^ a b Maginnis, Tom. "For Dinner... – Slint : Listen, Appearances, Song Review : AllMusic". AllMusic. Retrieved October 13, 2012.
  18. ^ a b Maginnis, Tom. "Good Morning Captain – Slint : Listen, Appearances, Song Review : AllMusic". AllMusic. Retrieved October 13, 2012.
  19. ^ a b Simpson 2014.
  20. ^ Segal, Dave (March 10, 2005). "Web of Influence". The Stranger. Retrieved October 14, 2012.
  21. ^ Gaerig, Chris (September 20, 2007). "Cover Stories – The B-Side". michigandaily.com. Archived from the original on February 20, 2008. Retrieved October 14, 2012.
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  23. ^ a b Puckett 2014.
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  26. ^ Tennent 2011, pp. 131–132.
  27. ^ Tennent 2011, p. 131.
  28. ^ Tennent 2011, p. 137; Male 2014.
  29. ^ Larkin 1998b, p. 5075.
  30. ^ Bangs 2014, 1:20:28–1:20:50.
  31. ^ Tennent 2011, p. 3.
  32. ^ Tennent 2011, p. 136.
  33. ^ Carlson 2001, p. 369.
  34. ^ a b Deming n.d.
  35. ^ a b Christgau 2000, p. 285.
  36. ^ Larkin 1998a, p. 4969.
  37. ^ a b c Albini 1991, p. 35.
  38. ^ a b Randall 2004, p. 744.
  39. ^ a b Noon 1991, p. 73.
  40. ^ Weisbard & Marks 1995, p. 129.
  41. ^ a b c Tennent 2011, p. 137.
  42. ^ Lutz 1991, p. 59.
  43. ^ Dominguez 1991, p. 103.
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