I Hate Sex

I don't know.. This, along with Rites of Springs, never really stuck with me after I had heard their stuff.. Their drum work, vocals, and performance, didn't really speak to me, although I will say the vocals on here are much better than Rites of Spring, but I wasn't really taking away much with the pretty brittle production. It's by no means bad, but I guess it's just not one of my favourite post-hardcore records.

I admire greatly a record that doesn't take itself all too seriously in the grand scheme of things. I'm not talking about a record like Hobo Johnson's: Revenge, where it's just a lazy pile of slop that doesn't care too much about the art itself, but more so a record that is just trying its best to be enjoyable and just fun. It's why when coming into The Stranglers' No More Heroes, I was pleasantly surprised. The angle and tone of the record was one that delivered a very tuneful, catchy, and ... read more

While being a somewhat confusing record, Bon Iver's 22, A Million is still a well-executed experiment on trying out fascinating electronic and singer-song writer type sonics.

I'm not even really too sure what I could compare this record to, but it is a sound that kept me engaged throughout the whole way. Whether it's on the track Deathbreast, with its very busy and almost industrial sounding instrumental, accompanied with horns and auto-tuned vocals, or the very lavish and gentle string ... read more

Maybe a little bit of a guilty pleasure for me, but I occasionally just come back to this record because I find some of the songs appearing in my head randomly sometimes. This record is not assembled together perfectly, on the first track there's a part where every sample came a bit too early on one beat, but Saint pepsi's catchy and tuneful approach to assembling these Future Funk plunderphonic type tracks has created something special here, and despite the glaring flaws this record has, I ... read more

It sure is something

After you get past the fact that they play instruments, this record sounds all the same, is compressed to hell in an irritating way, and it just feels gimmicky the entire time. Some of it is alright though.

The chad Lord Snow vs the virgin Jeromes Dream

There are little about these completely thrown together and skeletal Kid-A B-Sides that are gratifying. I thought this album was okay on first listen, but subsequent listens have only shown me how much of this record sounds naked to the point where it just sounds unfinished. The weird interlude style tracks like Pulk/Pull, or Hunting Bears, feel so incredibly thrown together, and just completely suck ass. Life In A Glasshouse is great, though.

The playful and bombastic attitude of Tyler's production choice, flow, and performance, all make for a fun and light hearted experience. Really, most of the issues I have with this record only come down to how this record presents itself lyrically.

Tyler's boastful nature across the album generally leaves some of these songs feeling 1 dimensional, there really aren't too many one liners or too many thought provoking lyrics to be had here, and that's not to say every rap record needs to be this ... read more

The Ska version of No Dream provides an alternative listening experience from the original, while maintaining most of the lovable qualities about it.

Definitely not bad, but it's very long, and it doesn't have too much variety, and because of the lack of defining characteristics and choice across the record leaves, this album outstays its welcome around the half way point. For what is being presented here, it's pretty good, but it's just not something that should've been an hour in run time.

I was excited to hear this record, as musician Tonie Joy, who co-founded the legendary emo band Moss Icon, was on it, but not too much of this record is really too memorable. It's a shame, because I think this album cover is really cool, and Moss Icon is a really great band, but Tonie's work here, along with the rest of the band isn't as enjoyable. It's just okay.

The hyper in Hyperpop really should give a great idea of what the genre would have to offer; extremely exaggerated and over the top stylized caricatures of pop trends and sounds of the past few years. On Fishmonger however, we are given a drab and washed out balancing act of blending Indie rock, pop-punk, and Hyperpop sounds to no avail. It's a real shame, because the opening track, 70%, previews us with some pretty fun Hyperpop and pop-punk sounds on it, and even if the vocals were not the ... read more

There's no denying the sheer amount of pop-rap bullshit Chance shovels into this terrifying 1 hour and 17 minutes long mish-mash of missed bars, terrible non-songs, pointless unfunny skits, and suicide inducing performances (E.G. the title track). The Big Day follows Chance on his journey through his big day of marriage, where we get to see into how Chance is feeling, and I'm glad he's happy, but this record lives the worst possible outcome that could've ever happened.

We Become Buried more like We Become Badarse because this record is great

It will blow your mind

Follow You is Imagine Dragons doing Imagine Dragons, and it's painfully boring. Wow, who would've guessed that?

Anyways, Cutthroat is hilarious, and easily one of the worst songs I've heard this year. Dan Reynolds screaming and wailing "TRY ME," on the bridge has to be one of the funniest things I've heard, and it had me in pain and tears on first listen. However, now it only leaves me in pain and no laughter, because the small amount of it that gave me ironic joy is now gone.

Definitely an experience

When Lana isn't annoying you with typical celebrity tabloid style controversy, she is boring you to death with her extremely bland music.