Hell yeah. I checked out A Tear In The Fabric of Life earlier in the year and so I was pretty pumped for this to drop and I am so happy that it is this good. The songs are catchy, mean, driving and fun. Plus it doesn't overstay its welcome. I think Knocked Loose is one of the best metalcore bands out there (a genre I don't particularly like) and if you're at all intesrest, I think this is there best work so far. These are all bangers.

This really shouldn't of been made. I don't fully understand why this exists but it just sounds like an outtakes record. Sure there are a few ok songs but some of them are just bad. This also retroactivly makes WE DON'T TRUST YOU worse because had they just combined the projects and cut 70% of it we would have gotten a phenominal record. In all honesty they should of just released the 2nd disc, call it an outtakes record, and people would be less dissapointed. Also jesus christ this has no need ... read more

This is probebly the saddest album I have ever heard, and it is absolutly phenominal. I don't think I have heard anything that conveys utter nihilsim in the way that Deathconsciousness does. Knowing the manner in which this was created only strengthens how personal a project this really was. Songs like Holy Fucking Shit 40,000 and Earthmover are masterclasses in subtle builds and explosions of sounds. Bloodhail has an incredibly accessable hook that doesn't sacrifice the themes and tones of the ... read more

The good songs are really good, and the corny songs are really corny. I think the songs that emulate their garage rock beginnings work the best (R U Mine, Arabella) and the worst are the indie sleeze that they would become known for (One For The Road, I Wanna Be Yours). I grew up with this album so there is a lot of nostalgic bias to this review, and I don't think its a bad record, but for being one of the biggest albums of the 2010s, I don't think it's what it is thought to be.

Another note: ... read more

Obviously it sucks, but it's not an empty experience. I would call this a so-bad-its-good album. There are some really funny decisions that I can't tell if they were intentionally funny (the screaming on Evil Empire, the story told on Like A Cop, the entirety of Oppy Day, I could go on). But in the parts that aren't funny are just boring. Lil Baby better of gotten a fat paycheck because that Underdog Song is terrible.

It's Thriller. Even the cheesy songs are classics. Everyone has heard at least one of these songs and for good reason, they are in fact classics. Despite the iconicness of Michael's performance (and they are iconic for a reason) Quincy Jones' production is on another level. There is such clear consistancy between song to song that allows a pop album to be a masterclass of album pacing and structure. Its a classic for a reason.

This is just a really short, interesting and pleasing project. The second half isn't that strong and on a 8 song project that isn't the greatest thing but overall I do enjoy it.

(EDIT 66 -> 71)
I end up coming back to a few of these songs a lot more then I thought and Ghosts may be one of my favorite songs of the year

I don't know much about Talk Talk but this is an incredible addition to the Post-Rock canon. Ascension Day is incredible and highlights what I think is the best aspect of this album: cohesion. Everything instrument is distinct and fits perfectly. It's just an incredibly beautiful album.

For as known and praised Tame Impala is, every time I hear one of his songs I am reminded why. Some of the best instrumentals, performances, production, literally every aspect of the music-making process is on display here. Many people who don't often listen to Neo-Psych or indie music period have told me that songs on this project are some of their favorite songs of all time. That really speaks volumes.

This is one of the most creative albums I have heard in a long time. It's really easy to compare them to BCNR but I really like how they play heavily into the theatrical and experimental side to art-rock. Heroin King is an absoulte feat of a song and is well worth the 17 minute run time. I hope that Eunuchs get their breakout record because they deserve to be in the same conversation as black midi and BCNR, not just being compared to them.

I think the content on these songs would be elevate if the music behind it wasn't so boring. Except for Who's Afraid of Little Old Me that song actually sucks. But the bigger problem to this is just how lifeless this sounds. The only time I found myself actually interested was on Florida!!! but only because its just a Florence + the Machine song. Its not the worst thing I have ever heard but I really don't think the Swifies were given a good product.

If there is anything negative to say about this project is that it is bloated, but that criticism feels kind of mute due to the nature it was released in, but this is some of The Smiths' best work. Panic has been one of my all time favorite Smiths sonogs for a long time and a lot of the new songs I heard on my first listen wouldn't feel out of place on some of their bigger records. A great experience all around.

LETS GOOOOOOOOOOOOOO!!!!!!!!!

The first music I can even remember listening to is Vampire Weekend's first two albums as my dad played them all the time around the house when I was a kid. To witness them coming out with some of their best material in years now that I am grown up is just amazing.

This was a case of me listening to an album purely because I liked the name, then it lead me to over an hour of ambience and sadness. Knowing the context to this is paramount because it adds so much to the experience. To an artist, this is what 9/11 was like, the repetition of a normal day interrupted by tragedy, so all there is left you playing a normal day in New York over and over again in your head to try and distract you, but the distortion is bleeding through and all that is left is ... read more

There really isn't a reason to say anything. No one thought this would be good. No one is suprised this is awful. I think the saddest part of this whole thing is that they dragged JID down to their level. Its not even fun to listen to just to see how bad it is.

I orignally checked this out based on the genre and title alone, and I am happy to say it didn't disappoint. Its angry, funny and abrasive, one of the best punk albums of the 2020s so far. I'm excited to see what this band does next.

In a similar case to ScHoolboy Q, I don't love Future so that is gonna effect how I think about this album. Besides that its really good. Metro does what he does and leads Future through some great production. Like That is incredibly good and Kendrick being so angry on a track is awesome. I do think its a bit bloated which has me nervous that there is another album coming out this year.

I like a lot of the ideas that are on this project and it has a great sonic palette, but I just can't enjoy this all that much. I still think its really good I just can't get into it all that much. Yeern 101 and oHio are both really good for what its worth and there are a lot of other solid tracks, it just comes down to personal preference.

This feels longer than Soundtracks to me. I understand completely the importance of this project to the entire Swans discography but this is unlistenable at points. I honestly thought that the debut would be the most accessible Swans project but no, it just hurts.

What's My Age Again is good. That's kinda it. Every other song sounds the exact same. Not fun. Like if you want a pop-punk project that came out in 1999, The Decline by NOFX is infinitely better.