Such a sad ending for the group. Where’s the passion from the performances? The color in the production? Almost everything here feels airy and grey, like the songs are in some kind of limbo - desperately reaching for life that eludes them. TM is the first and (perhaps mercifully) final BROCKHAMPTON album that sounds anonymous. I can imagine any rapper or singer over these beats, and what’s worse is that sometimes I can’t tell some of the members apart. These songs, even the ... read more
The Family tries to wrap things up with a bittersweet bow, but it’s more bitter than sweet. I appreciate Kevin’s honesty, but too often that honesty sours and winds up painting both him and the past few years of BROCKHAMPTON in a harsh light. Beauty and ugliness can certainly coexist - I’d argue the SATURATION trilogy and even iridescence prove that - but here they act like oil and water, and there’s more ugliness in this case. Add to that the haphazard tracklist that ... read more
Perhaps fittingly, The Loneliest Time shines with its slow burns, but doesn’t always thrill on the bops.
Revisiting this for the first time since its release in 2018 and wow, I've been missing out on just how varied, ear-catching, and just plain beautiful this album is. House and electronic as a whole are far from my area expertise, but this still stands out as some of my favorite from the genre. I'll make sure it doesn't take me another four years to come back around.
Anywhere But Here doesn’t quite pack the punch that its two SOTY material singles promised, but Sorry have come through with a moody and beautifully produced collection of indie rock that pulls from a set of sounds as diverse as post punk revival and trip hop. Solid overall and excellent in spots, but not quite great yet.
This is pretty safely my favorite thing King Gizzard have made so far this decade. They develop the jazzier side of their sound that they’ve explored on records such as Quarters and Sketches of Brunswick East to its lengthiest, most psyched out form yet. It doesn’t break new ground for them in the way that something like RATS’ NEST or Butterfly 3000 did, but rather gives them the chance to flesh out a style they’d dipped their toes in previously. Ice, Death, Planets, ... read more
After another go around, The Monitor is still a record that I respect more than I enjoy (even if I DO enjoy it). The conceptual ambition alone is admirable and Titus Andronicus consistently reach for the rafters, but I can’t help but feel like they overreach a lot of the time. I’m not sure if it’s the drawn out length of many tracks on the album, the airier production, something about the vocals, or some combination of all three, but I just can’t say I love it. ... read more
Everything I hoped for and more. Alvvays have always (haHA) carried the torch for jangle pop higher than any of their contemporaries, but on Blue Rev they lend some of the flame to shoegaze to reinvigorate a genre that too often lays stagnant. What results is a pitch perfect pop record that captures the sensation of every warm autumn memory I have flooding back into my head in an instant, to the point that no specific one even stands out anymore. All I’m left with is the smell of rain and ... read more
the actual new songs are really great and i appreciate the attempt to integrate everything into the tracklist, but it really does mess with the album’s practically perfect flow and atmosphere. check out unconditional and all you do as singles, then just go listen to the original.
Stranger Things stars I am begging you to PLEASE stop dropping mid.
Look, I’m sure the songs on MOSS are so personal to Maya Hawke and even so relatable to some. It sounds like she’s earnest and I guess I can get behind that, but I hope you’ll forgive me for struggling to be even remotely interested in the plights of someone whose parents are two straight up movie stars and who is starring in the literal biggest show of the past five years.
You haven’t lived till you’ve blasted this in your car at 4 a.m.
What happened here? While not god awful or anything, it seems like the shift to a more electronic sound stripped Suede of the blissful melodrama that made their first three records soar. It’s not even necessarily the sound palette that kneecaps it, but the way Anderson’s songwriting tries and fails to fit into it. Not a straight up swing and a miss, but definitely a foul ball.
This is sure to be a controversial record, but for what it is, I really enjoy The Mars Volta’s reinvention. Maybe it’s because I’ve never been the biggest diehard fan of theirs or even just of prog in general that I’m able to take a step back and appreciate this change of pace, but hooks and 5> minute songs aren’t as awkward a fit on the band as one might fear. Bixler-Zavala uses his musical partner Rodriguez-Lopez’s streamlined compositions as a Trojan ... read more
An all-you-can-eat buffet of hooks. Probably my favorite Beths record on a first listen and some of the punchiest and pluckiest indie rock of the decade so far. I’m only expecting these songs to worm their way into heart more and more over time and I just can’t wait to hear the process.
Finally! A masterful epic about needing the trials and hardships that go hand-in-hand with a desperate need to touch grass.
For as much shit as I give the Foos for being basically THE most standard hard rock/arena rock band there is today, this has a lot of charm to it. For maybe the only time in this band’s career, there’s real stakes - something to prove. ‘Foo Fighters’ is the scrappy little record that could, something Dave Grohl pulled together pretty much on his own as a way through what would have been a brick wall for many.
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