undeniably the touchstone project of brixton's windmill scene, black country, new road's universally-acclaimed opus "ants from up there" is endlessly creative, smart, and complex—nothing less should be expected from aoty's highest-rated album of the decade thus far. the incredibly talented septet play with a palpable passion, making it easy to explain the band's continuous chokehold on modern art rock discourse.
"wish" is a can't-miss release in the canon of '80s japanese city pop with its shimmering, jazz-funk fusions, hiromi iwasaki's uplifting vocal performances, and the awe-inducing timelessness of each track; you are practically teleported to a nighttime tokyo scene filled with the lively colors, elegant outfits, and real excitement of an era with much to be nostalgic for.
"grip your fist, i'm heaven bound" is like the prospect of warmth in a desolate winter, a truly bittersweet soundscape induced by warmly-toned saxophones, hair-raising vocals, and wrecking bits of poetry. the debut album of rising rock powerhouse racing mount pleasant, then known as kingfisher, should be considered a touchstone of art rock for its stunning emotive power and daring, even madcap experimentation.
tyler continues to ride the high of his landmark "call me if you get lost" rollout almost two years after the fact with a batch of exceptional deluxe tracks still entrenched in its era's opulence and impeccable production, with the more confessional and personal cuts hinting at the creator's next artistic direction.
on the globetrotting escapade that is "call me if you get lost", everything from the diverse, first-class soundscape to the unapologetically boastful bars exudes lifelike imagery of the affluent beachside life, but when tyler lets us peek past the a-list features and dj drama's ad-libs, he proves there is still vulnerable humanity underneath all the braggadocio.