geese lenker

This was super adventurous and a little goofy at times. I'll harp on this as long as I'm alive, but an artist that decides to take chances and expand their horizons will always go up in my estimations. It's just especially satisfying when those choices are (mostly, excepting THE END) well-executed like they are on here.

Some good songs but could've standed to be way shorter. This would be a far better album with a lot of the chaff removed.

No amount of great production can justify the snail's pace this record seems to move at.

I have many of the same criticisms of this album that I had of their last one. The lyrics are a bit more poignant and punchy, which I certainly appreciate, and it feels like most of the composition is a little fuller than on their debut, but it still feels like they could be giving me more, like there are a couple of elements missing that could really push it over the top.

I appreciate the infusion of more variety in this album, and that Wednesday isn't afraid to play around with their sound to, in my opinion, great success.

A touch of repetition is all that keeps this album from being excellent.

This is the type of bottled lightning that most bands can only dream of.

Embarrassingly enough, I remarked to my friend while we were listening that the last song sounded like an interpolation of Sometimes by mbv. And then she started singing, and I actually looked at the title. Good job, Aspen. Anyways, I did think the production did feel noticeably different than it did on The Turning Wheel, for instance. It was maybe a little more lifeless at times. Other than that, though, this pivot seems to have worked out in Chrystia's favor. Singing was on point as ... read more

I'm a sucker for space rock and early emo, and this album combines both of these with a smattering of elements from a few other alternative genres to create this massive, blown out sound. The lyrics are sneakily good, and I feel like the delivery sort of disguises them, as the lead singer's intonation is a little monotone and nasal (but certainly not in a bad way). It's an album that gets better the more you pay attention to it. Like, yes, on the surface, it seems like an easy ... read more

I feel like this album really highlights what a good lyricist Lucy is. The writing is very mature and quite beautiful despite not being very ornate. Digestible and easy to empathize with, simply put. Yes, I didn't always love some of the production and melodic choices, but I was pleasantly surprised with some of the larger, more baroque pop-inspired arrangements.

For every amount of the emotional gut punch and caged lightning that the last album was, this release seems to have only exponentially increased on that. I mean, there is utterly no reason that both of these albums, but especially this one, will be remembered at the end of this decade as anything other than a couple of the best Hip Hop albums released. The ending, oh, the ending. Maybe one of the greatest three-track runs on an album that I've heard in a long time.

The energy, the outpouring of emotion, the grandiosity and maximalism, it's all fine-tuned and presented in a neat 40 minutes. It doesn't pull any punches, either, with its lyrics or production, and I frankly felt increasingly brutalized by every subsequent emotional or sonic climax, of which there were many.

It started off decently, but I quickly lost patience for the overused motifs and cliches, with maybe one or two flashy moments thrown in for variety. It isn't the worst thing I've ever heard, but it does struggle with originality and consistency, a struggle that I'm not entirely sure Navraj won.

I think this guy graduated from Oxford. Fuck yeah great album, super fun and genuine in its production and style. It's infectious, the way that YT delivers most of these bars. There are a couple of moments that lose me a little bit, but I think the lyricism is definitely the unsung hero of this project.

I wasn't even Montero's biggest fan, but this is not really remotely close to that. It started off great with Hotbox, but after that, it just felt like seven songs that were damn near indistinguishable, not because they sounded the same, but because I can't really remember much that stuck out to me while listening through them. I saw someone say they weren't sure if this was a fan-made thing, and I think that encapsulates how odd this rollout was and how odd the overall vibe ... read more

It felt like a lot of the potency in the lyrics and production had worn off by the end of it, and it certainly isn't even awfully long. The lyrics are confessional and deeply personal at best, and at worst, they sound a little odd in their delivery, a little bit more erratic than eccentric.

I was today years old when I found out Durk was Muslim. Hell yeah, good for him. Sadly, I don't think even Allah could've saved this poorly conceived and written album. It isn't the worst of Durk's releases (the honor of which I bestow upon Almost Healed from a couple of years back), but I certainly had mixed feelings at even the best moments regarding the songwriting and delivery.

Phenomenal release with no real weakness. I think every song manages to stay engaging, and Danny's delivery is about as good as any I think I've heard, maybe better. He is truly what makes this album great, as meticulously crafted and produced as it is. This album has such an iconic, singular sound, and some lyrics that are frankly difficult to confront. The only way that these two factors can be resolved is through Danny's unique lens and the journey that he takes every listener ... read more

I really enjoyed Shoreline, but I fear that the rest of the album sort of faded into the background for me (which seems to be a common trend among those who listened through this album). I think this could definitely stand to gain some catchier hooks and slightly more solid lyrics, because the production and delivery were certainly there.