Dull and uninteresting, bloatedly limping along towards nothing.

Yeah, it's basically just Oingo Boingo again, but on the other hand, it's Oingo Boingo again!

one of the first cloud rap projects in some time that i can say i fully and completely enjoyed. thoroughly engaging in a way cloud rap usually fails to do for me

Divorce from New York continues to make some fantastic underground nu jazz. This release, following his previous two albums collaborating with San Sebastian as Reykjavik606, appears to be his first solo album under the name. On it, he collaborates with a number of artists, taking a far more straightforward jazzy route, as opposed to the chillwave-influenced broken-beat-steeped sounds on "Sausalito" or "This Ain't Jazz No More." "The Pickle Factory", for ... read more

jazz, pop, and folk collide with immaculate precision and wild, chaotic results, bursting and splattering like atoms in a particle collider

learn a second trans person's name jesus christ

spouge all the way baby

it's fine. it's got a fun calypso sound, but nothing all that interesting. Apparently the biggest inspiration Spouge took from Ska is that every track kind of just sounds the same unless you vary the tempo.

Genuinely shocked this hasn't blown the fuck up. It's dripping that 2000s era pop rap vibe, with just enough of a plugg twist to feel fresh and modern. STRONG recommend.

Where do you draw the line between "loving tribute" and "complete rip-off"? Sampling the original would surely be in bounds. Sampling it heavily would even be in bounds. Going for the original's vibe would be in bounds. And yet, despite everything it does being obviously in-bounds, this album manages to slip and tumble a toe over the line. It's very obviously inspired by Since I Left You and carries a deep fondness for the work of The Avalanches. You can tell, ... read more

I mean, it's fine. It doesn't go anywhere particularly interesting, but it doesn't overstay its welcome at any point. Extremely forgettable, but sufficent.

Fails to reach the highs of The Mollusk, but remains a wonderfully fun time.

making edit of that one "the point arcing over people's heads" meme where the guy's looking at this album and saying "wow! fuck capitalism!" but the point arcing over his head is that britain is a hellscape

Genuinely had a mostly-decent time listening to this, but Finger really is just dreadful. I managed to stick through most of this album - I even had a pretty fun time with most of it.

how the hell did the critics get this one so wrong?? this is TERRIBLE. like this is comically jaw-droppingly ass music

Enchanting and beautiful; a warm green embrace under the metallic sheen of copper wire

Some of the most catchy, poppy, dance-worthy tracks about doing terrorism and murdering political enemies. There's so much going on here that works so insanely well. The horns! The guitars! The lyricism! It's just all there!

This album is an achievement in shit. Completely unfunny as a comedy album. Completely worthless as music. Made with a complete lack of effort. Exists completley as a cashgrab to try and get money out of search engine optimization and mistaken listens. It's complete shit. It is a perfect 0.

The Yuskey Carter features are mostly alright, but the rest of this album ranges from meh to annoying.

Somewhere around Tropical Fuck Storm and Xiu Xiu with less harshness. This album has some extremely strong (and extremely gay!) lyricism. I'm still thinking about one verse from the title track: "Someday Tom of Finland; Someday Sufjan Stevens / Someday out there no strings; Other days we sleep in". These perfect little dichotomies between the unabashedly erotic gay and the repentant self-effacing gay; the prideful and the bashful gay, both living simultaneously in the minds of every ... read more

Her sound is genuinely and truly timeless because it sounds like the exact same album again