in my car, yelling along with all the gibberish, mentally jumping up and down to every rhythm, i dont think ive ever felt more comfortable. i absolutely adore these guys.

with every release, afx somehow amazes me even more than with the previous. i find it hard to believe you can just do this. im sure thom yorke felt similarly with how kid a/amnesiac was so obviously inspired by this. fucking manic.

LOTS of great ideas, but not much beyond that. they could have done so much more with some of these songs (brendan #1, shut the door, and *especially* two beats off (maybe its just my post-rock-wired brain; god that song could have been one of slint's/unwound's best)). also, i would think reprovisional is just the demo to provisional. just... why?

although brimming with creativity and an element of timelessness, Eno’s desire for experimentation and atmosphere sacrifices melody and consistency; an inattention for a balance on which Warm Jets flourished magically

kind of incredible how well these genres work together. even on the weakest tracks, there are memorable moments and surprisingly beautiful textures.

what the hell eno? how did you make something so consistently ordinary and mindbendingly strange? ziggy stardust dreams to be from whatever planet this is.

some of the rawest shit ever. and you can hear like half of nirvanas discography on disguise, so thats one hell of an accomplishment for 1985. anyway, im glad mcmahans vocals changed for slint, to say the least.

fuck lydia lunch

superchunk doesn’t try to innovate, they just fucking rock. they have a knack for that and this album alone is more than enough proof: absolutely jam packed with top tier hooks and riffs; half of these songs sound like they could be any other similar sounding band’s magnum opus.

with themes of loss written all over, apparently grappling with writers block (track 5 outright reuses melodies from track 1 *and* 8), flying oddly close to a sound reminiscent of christian rock in the following decade (well, we have mineral), and surely reaching some accordingly mediocre lows (the fourth track reminds me of some of the shit tyler joseph somehow thought sounded good in his solo work), is this confidently anxious group on this album. but fuck, it works?

also, i find the vocals ... read more

this is so much more than music--this is the outright denial of any expectations set on rdj; absolute proof that he was here to create whatever the hell he wanted, even if it meant pushing the boundaries of sound, regardless how eccentric.

also: alberto balsalm is unbelievably beautiful. not in the usual sense; in a way it sounds off-putting (hell, its been used a *lot* in backroom edits). its atmosphere. i can hardly put together words to describe what that song makes me feel. hardly ... read more

a looming uncertainty pervades this seemingly hardcore album… so post-hardcore it is! lots of great moments in both the energetic and somber parts, but they do feel sporadic. still, they make a statement with umber.

sure it sounds a little clichéd, a bit dated, possibly lazy, and i love it for that. its front to back high octane, teenage-fueled power chords with its doses of melancholy. if thats what they were going for, then they freaking nailed it.

also just realized albini produced this; explains their perfectly fitting raw sound.

on the freeway at night, the world around me growing from lush, tame forestry into formidable, brutalist structures; blinding, towering, yet picturesque.

3x car accident likelihood multiplier

like playing with a new toy, rdj perfectly encapsulates pure joy in the form of mac-produced sound. truly an embodiment of aphex twin’s unparalleled creative freedom.

i love this whimsical motherfucker it just KEEPS GOING

jesus this album is depressing. not because it’s necessarily emotional itself, but it sounds so sparse, empty, bleak, and somehow confused. its something about the contrast and textures of songs like sonata for loudspeakers, NO TECH!, what went wrong, and lifetime achievement award (especially that part near the end holy shit). its just all so odd.

kind of what you’d expect from a debut of a band like this. i love how raw it is and despite the poor quality, the guitars have such nice piercing, metallic tones. trosper’s vocals were definitely not realized yet though, and often sound a little forced.

you can tell they picked up on some influences, opting for shorter song structures and generally sounding less distorted. but simultaneously, this was their most experimental project yet. as a result, it sounds kind of odd the whole way through, but in an enjoyable way.

also please do not go to sleep to this. i woke up to pardon my french trilogy and it felt like some dementia sleep paralysis shit.