Daytona is the most impressive out of Kanye's Wyoming record by a mile and then some - probably because it's the one that makes most sense as a 23-minute record.

There's some really great songs on this, uh, album. There's also some pretty mediocre ones, so why the songs on Whack World all had to be exactly one minute in length is completely beyond me. All in all not entirely sure whether the extremely short runtime is a good or a bad thing...

An impressive feat production-wise and an attribute to West's peak in creativity, but hardly an album of significant impact. Unlike on Ye and Daytona, there's nothing here that truly grabs your attention and, unlike Ye and Daytona, this album doesn't actually feel complete with its 7 tracks and 23-minute runtime. It ends and as soon as it does, it seems as if all has already faded.

A voice as enchanting as Bonet's is hard to find and on Childqueen, she uses it to the fullest extent.

Everybody seems to be referring to this as Rolling Blackouts C.F.'s debut, but for a debut it's rather disappointing. Hope Downs lies miles away from the enticing spirit of the preceding EPs, so let's just not call it their debut, OK?

It's amazing to see that this man is able to move beyond his egomania (although that can be equally as fun), stop in his tracks for a bit and just reflect. The fact that the production is impeccable and that it's all very summise and to the point is helping out a lot too. (Wait, did I just write my review for the Father John Misty album?)

It's amazing to see that this man is able to move beyond his egomania (although that can be equally as fun), stop in his tracks for a bit and just reflect. The fact that the production is impeccable and that it's all very summise and to the point is helping out a lot too. (Wait, did I just write my review for the Kanye album?)

I feel like I could swim in this album.

Instead of being emotionally overwhelmed, I find my rational mind still very much at work whilst listening to Singularity; to the point where I just said to myself: "WHAT IS THIS ALBUM TRYING TO DO?" As with my initial (failed) attempts, the first half fell flat on its back for me; so flat that its faintness became excruciating to the ear. But then came the second half of the tracklist, changing the atmosphere entirely and (very, very, very) nearly getting to me on an emotional level. ... read more

Can't say that atrocious album cover has nothing to do with me not liking this one, but every time Knock Knock is on the verge of arousing my curiosity, it ends up doing absolutely nothing for me.

Never thought I'd remember something for the fact that it's easily forgotten, but then this Grouper record came along. It's not exactly thrilling or captivating, but Grid of Points, probably because of its limited runtime, does make for a strikingly beautiful moment of nothingness.

He seems to hardly be trying, but Buck Meek sparks interest with his solo debut; instrumentally, when the songs demand it, but vocally most of all.

With less of Golden Sings' sonic bliss and more of its meandering spirit, Deafman Glance is not exactly blowing me away or taking me on a journey, as Walker's music has previously done; but it's still Walker and that's always worth some extra points.

I guess we can apply Brian Eno's definition of ambient to this one. It's a snoozefest, but it's pretty good as snoozefests go.

Beach House is one of those bands that just flies by me, like an asteroid belt would do to Earth. It's beautiful and all, but it hardly lingers and as soon as the last song ends, it's no more than a glimpse on the horizon. This album has, however, made it to my musical orbit and who knows for how long it'll stay there.

There's no denying I'm a total fan of everything Courtney Barnett does and has ever done, so never was I really afraid that Tell Me How You Really Feel was going to be a disappointment - how can it ever be? Now, the songs on this one are slightly more abstract and have a slightly darker sound to 'em, but above all it's classic Courtney and I can't help but fall for that.

There's something about Damien Jurado, and especially this latest record of his, that I just can't seem to apprehend or verbalize; this is just magical.

While everybody else seems to love this record, I have trouble even liking it. That's fine, there's lots of records that a lot of people love and I simply do not and often enough it's the other way around, yet with Dirty Computer I immediately felt my brain working overtime. Maybe, and this is illustrated by the fact that its #1 on AOTY right now, it's because this time the discrepancy is significant - I honestly don't know.

What I do know is that during my first (and so far only) listen, ... read more

Being directly and primarily inspired by The Velvet Underground is great, though not so much if you do not add a lot of substance of your own. Now, there's more originality to this record than I had anticipated and above all it is great fun, but it's rarely more than that.

EPs usually don't stick with me, if I bother to check 'em out in the first place, but here's tomemitsu with the exception. His sound has always been soothing to the mind, but here he admirably accomplishes full transcendence within mere minutes.