I honestly tried several times to understand the popularity of this record among critics and after several listens I simply have to admit that I personally just don’t get it. I see why a mass audience would love this band’s sound–it’s simple, straightforward, melodic and urgent rock music with a lo-fi, retro touch which certainly pleases every traditionalist while also being modern and different enough to appeal to indie heads worldwide. It features some captive riffs throughout and a few interesting vocal melodies (which up to that particular point hadn’t appeared quite like this in rock music), I absolutely agree there but I fail to recognize the anxious energy that critics and listeners assert it to possess. It simply doesn’t come across to me – I notice that there’s some kind of urgency in those raw riffs and the pounding drums but, to me, it’s as if it’s all being muffled by an ocean; as if the band is playing from beneath the surface and I can only imagine what it really feels like. How energetic it really could be or maybe even is.
Were they really “the forefathers of a bold new era of rock”? Well yeah, obviously if you take in account what happened after Is This It, and maybe that’s why I can’t really access to it. Maybe I’m too young (1995) to be fascinated by the Strokes’ debut. But why? Simply because I heard these sounds countless and countless of times, either in indie rock radio or by modern lo-fi blues rock bands, to the point that I became oversaturated, hell, even bored with the sound palette (and to be honest, I never bought into it the first time around so there’s further explanation why I simply don’t like this as much). At this point I question myself if a true classic can become so influential, such a blueprint for countless of bands to replicate its formula, to the point that it is no longer enjoyable or as enjoyable as it used to be? I would argue that it depends on the sound palette itself and the degree of its exposure – to be objective, in terms of musicality, the sounds on Is This It are fairly simplistic, there’s not much experimentation and its central idea (being a love letter to vintage rock) also does not even allow much experimentation or individuality. If you try to broaden that palette you’ll ultimately betray the flirtation with established rock notions that is going on here – it’s incredibly hard to balance further sonic exploration with the album’s core idea (it’s possible but difficult), so it’s understandable if influenced band’s just stick to the formula till they eventually tire listeners out.
However maybe I’m just being too demanding here: if you go into it expecting a rock record, simple and plain, you will be pleased and I also recognize that I’ve grown out of simple and plain some time ago. But then again, from time to time, I still do enjoy simple and plain as long as it conveys the energy that inevitably gives you an urge to move, to riot, to scream (you know like Nevermind does for example) and that’s not given here in my opinion.
Dangerous Woman 80
Be Alright 82
Into You 100
Side to Side 84
Let Me Love You 79
Leave Me Lonely 89
I Don't Care 61
Bad Decisions 82
Touch It 100
Knew Better/Forever Boy 91
Thinking Bout You 79
Didn't really like that this album was explicit at first but really brings out her dangerous woman persona her best album yet!
One Last Time 96
Why Try 79
Break Free 85
Best Mistake 95
Be My Baby 81
Break Your Heart Right Back 73
Love Me Harder 83
Just A Little Bit of Your Heart 67
Hands On Me 74
My Everything 84
Bang Bang 50
Only 1 100
You Don't Know Me 75
Her third best out of her three but still a great album.
Honeymoon Avenue 100
Baby I 90
Right There 85
Tattooed Heart 💯
Lovin It 82
The Way 84
You'll Never Know 100
Almost Is Never Know 72
Popular Song 69
Better Left Unsaid 74
Very strong debut album by Grande this album showed that she truly excels at her R and B flows more than pop.
Lone es una productor que desde sus inicios, a elaborado la misma química en cada uno de sus proyectos. El espacio 16-bits con ráfagas de sonidos led, fueron el quiebre de un artista que hace de sus influencias, un espacio totalmente nuevo.
Galaxy Garden es diferente a sus anteriores proyectos. Aquellos mismos se presentaban como materiales chill ideales para el sol radiante. En cambio este álbum cuenta con la característica de poseer un cuerpo 3D que viraliza cualquier tono en un espacio digital. Un cuerpo cuyas piezas son mucho más estructuradas gracias a una ambición notable que le da color a un material que de por sí ya es colorido.
El tiempo en el que circulan los ritmos son notablemente dinámicos, dándole una agresividad interesante que Lone sabe cómo manejar para no ser extremista, y así darle oportunidad a las melodías corrientes para que fluyan con mucha naturalidad, y desplieguen toda su tendencia provocativa a compases magníficos.
PIXS: Crystal Caverns 1991 / New Colour / Raindance / As a Child.
I'd definitely consider myself a fan of Spoon - one of the few long-lasting bands in the indie rock scene who obviously put all their strengths as musicians and songwriters into crafting some sharp-as-hell tunes - but I can admit that I'm always a bit torn with their whole record-making process. They can easily maintain the title of being the most consistent, 7/10 rock band with records full of simple, easy-to-love, pop hits (primarily seen with 2014's They Want My Soul and 2007's Ga x5), but when they do try to throw down something even just slightly more out of the ordinary (something that every band should strive for), the records suffer with the band's full lack of commitment towards a direction like this. And next to Transference, Hot Thoughts just overall happens to be one of those outputs from the band for me.
The singles and hit-worthy tunes on Hot Thoughts are all by-the-numbers Spoon and if you've come to know the band well long by now, it makes for some pure quality moments for any fan to really sink their teeth into. That synth hook in "Can I Sit Next to You" especially makes the whole record worthy of a listen from anyone, I'd say. However, when the band does deliver an attempt to break out of their comfort zone, it mostly sounds more half-assed and a tad contrived rather than something refreshing and captivating. Deep cuts like the tension-building progression to an unexpected jam on the clearly Depeche Mode-influenced "WhisperI’lllistentohearit" make for some truly stellar moments in the band's long career, but then it sadly becomes outmatched with filler-like moments like "Pink Up" which offers a mildly interesting, lounge instrumental which stays static for about six minutes and the closer, "Us", an unsatisfying conclusion and a mostly pointless, instrumental excursion into saxophone-led atmospheres.
A decently charming piece overall from a band who seems so invested in wanting to adventure to somewhere new that they seem to forget to bring in that consistent tightness that made their best material so admirable. Get on this for that synth hook though.
Esse disco é fogo. Um Hip Hop cru, direto, encaixado. É o típico som de NY entregue com muita honestidade, fazendo jus a tudo que esta sonoriadde tem a oferecer. A produção chama muito a atenção, um som orgânico, cadenciado de forma bem intensa, timbres bem crus e até algumas linhas de baixo carregados de funk e groove. Sobre isso YourOldDroog e cia cospem versos com igual intensidade, com bastante acidez e irreverência. Algns tópicos podem não ser lá mto apropriados, mas mesmo assim droog consegue deixar a história atraente e divertida. Versos de Danny Brown, Edan (que se destaca na produção de várias músicas aqui tbm) e Wiki são puro FOGO. Numa época de discos tão super-produzidos no Rap, de tnta visualidade e não-otordoxia, me agrade muito um disco como este que fala tão diretamente com a essência do gênero, e ao mesmo tempo deixa muito a se aproveitar daqui para o hip hop atual.
Quase tudo a se esperar de um disco de Hip Hop que flerta com o R&b contemporâneo está aqui...um tracklist longo, atmosfera bem visual da sonoridade, bebendo da black music clássica mas com um toque bem moderno nas estruturas das músicas com toda a eletrônica de sintetizadores e beats. Dito isso, SMino é um rapper bem interessante e tem momentos bem legais neste disco. Ele traz uma abordagem mais positiva e leve, seu flow cantado tem uma boa musicalidade e seus versos tem uma certa irreverência que encaixa bem na sonoridade. Gosto da produção num geral...beats bem suaves, sutis, com aquela cadência balanceada do Jazz e do R&B cheio de groove e sensualidade. Algns momentos as beats seguem padrões bem quebrados e Smino se sai bem com seus versos, ainda acrescentando melodias as músicas que fluem bem. Sinto falta de um pouco mais de versatilidade, o setlist longo torna um pouco cansativo visto a unidimensionalidade da maioria das músicas, que seguem a mesma linha. Também acho que arranjos mais trabalhados fariam bem pra ele...ainda que o som seja bom, não há nada que se destaque muito pra mim.
Game gets a lot of hate for some odd reason, but the man should be in every hip-hop purist's top 20 emcees. Consistant since his debut, he delivers again on 1992, which is no surprise after The Documentary 2/2.5's surprising excellence. The songs just aren't memorable and he sound much less passionate this time.
It's hard to pitch down this record without being objective about because well it's clear that the lyrics are totally the perspective of Kozelek and he is very unapologetic about it, however I appreciate that 'cause it gives a more personal tone to the album and well you gotta give him credit for talking about his life in such an interesting and unexpecting way. I feel anger, mockery and love in the way he writes, sometimes I wonder if this is more like an audiobook or an album, because it has qualities of both, which makes it different, specially in the way he is very aware that there's a listener and "breaks the fourth-wall" in a song... which I think is weird to say because of course all songs are directed to someone or something, but in this case it feels like he's talking directly to you, like he was in your bedroom playing live... I don't know, it was a weird listen but a very gratifying one, except that maybe I would cut down two or three tracks, considering that the songs are so long.
Fav tracks: God Bless Ohio, The Highway Song, Window Sash Weights, I Love Portugal, Seventies TV Show Theme Song
Least fav track: Chili Lemon Peanuts.