YMO's other '81 release is a sublime synthesis of the darker textures they worked with on BGM and the energized, danceable grooves of their early career. Seoul Music may be the group's very best track for my money, but the entire record resembles a portal to the future- if only the future were this boppin'
Comparing BGM to YMO’s debut demonstrates just how conscious the effort to ‘mature’ their sound here is. The ambient elements that were slowly seeping in on their prior works begin to take center stage here, making for moments that are *certainly* still groovy, but also many vignettes that paint a picture of isolation or despondence in some way
The grooviest Synthpop record this side of the cosmos. YMO elevate from their enchantingly twinkling debut to a sophomore project that feels equal parts playful and stoic- danceable and direct. The result is a record that gives Plantasia a run for the best electronic record of the 70s
A stunningly playful and charming debut. Sure, compared to the sprawling ambient leanings of some of their works to come from here, this debut could be construed as almost ‘goofy’ to some… I deny the notion. This may not be YMO’s best record, but it certainly is their most immediate. Electronic music to just smile at
Oddly feels a lot more of its time than the material recorded for Static Age, but depending on the level of Punk purist you're talking to that could be a positive. Even in a more 'standard' (heavy lifting on the quotes there) Hardcore pocket, Misfits take no prisoners
Perhaps the purest Punk Rock record of all time. Shocking, repulsive, rebellious, and jamming- but with a sweet, impassioned side underneath everything. A.K.A. the original ethos of Punk Rock. On original listen I missed the context that this was originally recorded in '78 and not released until 1996, as I initially thought the record sounded ahead of its time even for '96- imagine my surprise. Danzig and co strike distilled Punk gold
The tracks here everyone knows are earworms eternally, whether you want them to be or not (I'd personally not...). The rest? Destruction would be nice
It’s befitting that Coltrane’s final (for now) release isn’t the mind-warping, boundary shattering avant-garde jazz he’s most famous for, but instead a (comparatively) simpler back-to-basics jazz record. Pure and simple.
Rivals Sun Ship as Coltrane's strongest posthumous release. Although this record was really just a collection of ideas leading up to Expression, Coltrane's final release during his Earth-presence, I actually prefer this record. The compositions here feel simultaneously out of control and completely at Coltrane's will- the first three tracks in particular are utterly astounding. Dare I say the most underrated Coltrane release? The lost sibling to Ascension and Meditations
Essentially a more subdued Meditations; meaning this may be the preferred version for those that are wary of the original’s frenetic pace. But, like, that’s kind of Meditations’ thing, man
A special release in being among the final recordings ever made by Coltrane. Though the pieces here aren’t overly ‘interstellar’ in scale, they nevertheless feel like a natural extension and component of Coltrane’s Free Jazz-mastery that defined his final days
Coltrane’s best posthumous release, no question. All the compositions here sound as though they could’ve slotted right in to Coltrane’s peak Avant-Garde period, circa Meditations. Essential
Though it doesn’t mark particularly much of a ‘transition’ in the posthumous phase of Coltrane’s discography, all three tracks here are worth at least one good shake
The sound of a man torturing his instrument for 30 straight minutes. Enthralling + Enlightening.
An incredibly significant record for being the last Coltrane project to be released during his lifetime. Expression doesn't really sound like much of a 'final record' despite Coltrane knowing he would soon succumb to his illness- a sign of a visionary that refused to be stopped until Death took him with force. Essential listening for the final pre-posthumous period of Coltrane's truly enigmatic career
The opener reveals the main pivot on this project for Coltrane- Afro-Jazz. It’s a logical next-step for the artist after a series of increasingly more spiritual and avant-garde forays. The two other tracks here aren’t as spiritually enticing per se, though I think Welcome may be my favorite for being such a plaintive ‘reflection’ sort of track- an oddity in this stage of his career
Piss In The Wind just never seems to stick a landing. Don’t get me wrong- there are some great isolated moments here- Past Won’t Leave My Bed is one of Joji’s best singles in several album cycles, Sojourn’s production is *slick*, and the general aesthetic of the record is among Joji’s most appealing to date.
But the issue Joji has always had of having a compelling idea and then… doing next to nothing to properly flesh out said idea plagues this record. At a ... read more
The title is deceiving- the opener alone will not have you meditating, though it almost certainly will have you exalting. Coltrane's poor, poor saxophone. The thing sounds as though it's calling out for mercy in many spots on the record. Or maybe it's shouting with joy? Both are equally possible- no, probable.
![John Coltrane - Ascension [Edition II]](https://cdn2.albumoftheyear.org/100x0/album/315284-ascension-edition-ii_230831.jpg)
The first take of Ascension is really the other half of the coin that is one of the most essential moments in Avant-Garde Jazz history
![John Coltrane - Ascension [Edition I]](https://cdn2.albumoftheyear.org/100x0/album/15752-ascension_120205.jpg)
This is it- the moment Coltrane cements himself as the Avant-Garde auteur he's eternally known as today. Though many places in Coltrane's discography to this point flirted with avant-garde elements-especially A Love Supreme's Spiritual catharsis- Ascension marks the point where Coltrane and his acquaintances leap head-first into loud, unruly, and boundless waters. And I'll be damned- it's gorgeous.
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On Jalen Ngonda - Doctrine of Love
"@Shayden 100% agree, it’s a throwback record done right"
On 2Pac - Me Against The World
"@Cloudboy019 yeah I def get what you mean. Pac’s cadence and energy is so infectious for me I was able to look past the production being relatively ‘one-note’, even though like you said it is excellent production. That’s an excellent analogy"
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"@Cloudboy019 that's a fair critique, I will say flow is not Pac's strongsuit, though a lot of people would probably disagree with that. The production is pretty much perfect here imo but it is definitely uniform across the record so I could see it growing stale if G-Funk adjacent stuff isn't as much your bag"
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On usur_disc350's review of McKinley Dixon - Magic, Alive!
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On Weezer - Weezer (Blue Album)
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On Weezer - Weezer (Blue Album)
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On Weezer - Weezer (Blue Album)
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On Frank Zappa - Joe's Garage Acts II & III
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