This is something that would be played at a cult indoctrination after slipping attendees drugs to increase suggestibility
They're really good at making you check to see if the album is over only to see there is 10 minutes left so you feel like a fucking idiot
King Crimson might be the goat of saying like 3 words and then going into 8 minutes of instrumental.
The first half of this album just doesn't mesh with me, with the repetitive guitar being pretty much the only instrument, and the tone of his voice doesn't sit right. It gets better after that, but it still isn't really for me.
I hope the Beatle that decided to put "For No One" in this happy go-lucky tracklist is one of the dead ones because that fucked me up.
Revisiting for like the 4th time now, once again doubting whether I gave this album a fair shot, and once again coming to the same conclusion.
I don't think MBDTF is bad, but the 70 I'm giving it is a bit deceiving; a normal 70 might generally have a mostly solid tracklist with a couple good songs and a couple stinkers. MBDTF, on the other hand, ends up being one of the most lopsided projects I've ever listened to. From Dark Fantasy to Devil in a New Dress, every track is at least good, ... read more
There was just nothing for me to really latch onto, It felt like the volume was unintentionally lowered for the whole album, and while there were a lot of interesting moments and fine songs the album as a whole just felt sleepy.
The whole album manages to be unsettling and foreboding using the smallest details, the alarm clock sound that persists throughout the album, the hushed voice that is spoken in, the small excerpts of a story. All this and more manages to draw you in to the vision that Slint had and the experience they presented.
Even with billy woods taking a backseat, Moor Mother is able to be just as enthralling with her lyricism and jazzy production.