In one word, AB (won't write 'that' title each time) is ethereal. It is set in a liminal space at all times and it evokes constantly - something new. Here is the an hour of music that feels like discovering a new state of being and the wonder that comes with it, like a very soft but very soothing kind of euphoria. To call it heavenly would be appropriate enough, but to fulfill that comparison even more, it feels more like a journey than a place - it doesn't feel real in a very weird sense, ... read more

Both the best and the POST HUMAN: SURVIVAL HORROR's element is the willingness to drag as much variety in it's genre as it dares. The gears often switch and it's fun to see them try interesting intro's, outro's and A LOT of bridges to tie the whole album together and it does stick together with a confident steadiness. But... it rarely sticks the landing for me - it switches gears a lot, but it's bait and switch, because a lot of the harder parts sound very much alike to me, so I didn't have me ... read more

This collection of Grateful dead snippets from their '72 tour run throughout Europe is one of the most liberated rock records I ever did hear, no tightness is in sight - and that can only be called a refreshment in a medium where greatness so often comes with the price of obvious hardship. Instead here, what we get is a strung together collection of jam band pieces sometimes derailing on a slightly improvisational path while still remaining very professional at all times. It is especially a ... read more

The core asset of Electric Wizard's Dopethrone lies in the constant fullness of it's sound. With a well oiled engine, this behemoth creeps on with an unstoppable force and a dragging heaviness - which both compliments and hurts the album at a certain point. It is pitch black drenched in a real sense of self contaminated style, which is for me a true achievement in a genre that sometimes sounds as blurry as metal. What is essential to the style is that it really is a slow burner compared to so ... read more

Brick seems like an album that is content with exploiting the contemporary genres and tropes in a way that is hackneyed and cheap like a vagrant vendor, but hey, it's a helluva compilation when you look at it from the other way - you might even call it a good high. It plays out like that 70s cheerful music that has the exact right friendship between freshly baked funk and oldly charming soul - where the rhythms are a tad repetitive and the padding is made up of sexy saxophones and that good ... read more

The more I've heard the main hits from Arctic Monkeys, most of which stem from this album - the more they tire me out without growing in any value. They start to feel more contrived and annoyingly reliant on the same passes and goes that sound fresh for five times and get obsolete the sixth time. This isn't how I should listen an album, looking for flaws by listening to songs over and over again but songs like "Do I wanna know" and "Snap out of it" have been heard around the ... read more

This felt like a session of advanced music practice in high school where the one talented kid is practicing in the hallways. Maybe it's just the ridicule simplicity of this album that makes me say a thing such as this. The only thing prominently used are one to five clarinets and a sort of metronome. It's always nearly invisible in layers and you know what? It's kind of refreshing and even relaxing. There is obviously no real point in this music, it isn't a statement or a grandiose expression ... read more

Sounding like it's dimly held back from full power, The Perfect Prescription feels like a caged beast that could unleash the trippiest punk you ever did hear on this world. It does choose to reserve itself though, you know there is no bluff in how balls to the walls these guys can get. Meditating with long tiring stretches of ambient electric guitars and drums that keep building but never really drop, it feels half baked in cheap acid. The genre is called Space Rock and I understand why, it's ... read more

If I could describe this album in two words it'd be "humbly ethereal". Maybe that's where the title comes from - a mediator between something so wonderfully supernatural and the beauties of heaven itself. This album sounds trapped in the realm of grandeur, outside of an artist so to speak - entering the spirit of a community effort rather than the solitary vision of one individual. It plays like a ripple effect that keeps on dropping new impacts to ripple on and that results in a ... read more

The most impressive element of this album is also the most obvious: the blend of a very experimental soundscape and the fast paced, sober hip hop layered on top of this. It might have switched places to use the hip-hop as undertones and the noise genre as spotlight but I reckon the album wasn't ready for this yet. The first songs were the greatest at combining these effects and cemented a style that is minimalistic and cold while also getting on your nerves with the quiet production soundscapes ... read more

When I hear an album is twisted, I think they mean that it is puzzling, sickening or gutwrenching. However, I declare Skylarking twisted on a way that is far more complex than that, it twists in moods and themes in an effect that feels explorative and spiritual but also so very ritual - like a tour guide on a psychedelic trip. Well, the thing about this tour guide is that it isn't entirely stable itself, revealing some true anxieties at times too. Skylarking is a mixed bag of riddles and ... read more

These Kraftwerk guys sure do love computers. This early electronic album has its permanent charm in how far these Germans are able to push these experimental sounds to a border that is rich in sound but so simple in texture. It jams with the simplest of rhythms and notes but it is so human beneath all it's stiffness, I wouldn't say it has a warm heart but it is a great showcase of a positive relation between the 'modern' and the wielders of this modernity.

It is one of the early electronic ... read more

Every once in a while a new sound emerges not from itself, but in the form of a re-fragmentation of the old, juxtaposing little elements no one has before and thus achieving something that is unique as a whole yet recognizable individually. Black Country, New Road is not very polished but stylized to the bone, riddled with an atmosphere that is the best kind of bland but also a bit confusing - and as the music is very consistent, they must've known what they were going for. It's a good feat of ... read more

Probably the most influential and first true pop album of this decade, so I feel that I have to review it sometime. The best thing about this album is that the Weeknd is finally comfortable telling his music from the perspective from a persona that is as much storyshaper than just a musician. By this definition is very fresh and doesn't feel like the old cut, slack and dry pop as an afterthought of the 2000s we've heard so many times. After Hours finds a true place in modernity with a respect ... read more

On this album Jim Croce talks like one of those cartoony southern comic book figures. It's such fun to have an album told from an exaggerated perspective like this - especially such a swinging piece of jiggity such as this. With his neutral pitched, southern dipped voice Jim guides us like a fun radio booth operator - boosting the same confidence and charm from minute one to the last song. Soft of heart and rough in style, You Don't Mess around with Jim is a definitive album for his personality ... read more

How could I only glance over a title such as Pussy Whipped... from Bikini Kill, which contains one of the most futile forms of punk I've ever witnessed. It packs spice, but it deliberately seems to lack punch for me as a counterbalance. They're bordering being too damn busy to do so, it's just a jam session in which barely anyone ever perfects their harmonious desires to really sell themselves. It's one of these products of the 90s which promotes sarcasm in the coat of a typical rebellious ... read more

6 Feet beneath the moon is tied to a chain of soulful passion and hollow soundscapes that prescribe a loneliness the album maybe doesn't require, or deserve. I oddly used the word soulful with a voice that has so little of a usual "soul-genre" voice, King Krule (only 19 at the time) has a holy unique voice that is that of an aging slumlord with a crooked drawl that is as Brittish as they come, it really is a sound to behold. There is a very pleasing aesthetic to his rock steady ... read more

I proudly declare this as my personal (although for me it should be as objective as subjective) the best Jazz album of all time - no thing will ever top or cap it. No words are spoken, but from minute one we are seduced by a charm that is nothing but ominous - it's about the thrill of a bad influence. It excudes the idea of an album that ties a cinder block to your feet and drops you in the ocean - because for what it's worth, the bottom of the ocean may reveal your most inner desires? The ... read more

What a magnet for softcore punks in the mid 70s, it feels painfully tame and stale by the standards of today. It opens with a pranking Beatles-esque openers but soon reveals itself as a "wild" and "rad" album which feels like a second cop out to the standards of today. It is not the playful kind of early punk that The Ramones were so good at, it is a shallow and mild exploration of the Hard Rock genre that has just enough personality to sustain itself but far too little ... read more

If I could categorize voices, in the sheer category of a sheer pleasing voice that is smoother than butter and mightier than muscle - like a true Crooner: then Nat "King" Cole would be on the throne of that category. Yes, this will be more a review of his voice than the album as a whole but hey, they're near synominous. He dances like a gentleman on elegant music that is so tender and overwhelmingly wholesome that you can't help but glow a little bit inside. It's procedure Nat King ... read more