One of the most comforting yet simplistically emotional albums out there. It’s a folk classic for a reason. Nick Drake’s songwriting and lyricism is gorgeous, thought-provoking, and in many ways emotional. His voice is also haunting in some ways. It’s soft and listening to this album feels like being right next to him as he’s playing all these songs on his guitar as a farewell message. A must-listen.
Daughter of Darkness: over 7 hours long
This album: hold my beer
“Oriental jazz” is a tasteful fusion of Persian classical music and a western-based traditional modal jazz sound. This is one of the most unique albums of its kind—very rarely do you come across an artist such as Lloyd Miller fusing foreign instrumentation with the essential jazz elements. Alice Coltrane did a Hindustani classical avant-garde jazz fusion—now Miller does the same but with Persian classical. The production’s lo-fi feeling makes me enjoy this project ... read more
This compilation is just bangers after bangers of some amazingly catchy power pop songs. The riffs here are addicting as hell, the vocals have a unique rough edge to them reminiscent of many iconic post-punk vocalists, and it’s just a lot of fun! I feel like it’s one of those albums I can play for the hell of it and enjoy every bit of it.
While it is an important and influential album for its genre, I do think that Portishead’s shot at the more electronic-based experimental direction in “Third” proved for a more exciting, engaging, and unique listen. Nonetheless, “Dummy” has a lot of highlights and Gibbon’s entrancing vocals and the brilliant production make for some really beautiful and well-executed songs.
Well... I don’t disagree with that one guy on the rym who said this was like visiting 4 ugly dentists at once. Or something along those lines.
It’s so much fun! Who knew jazz punk would sound so good.
Is it just me or is a lot of this album just really obnoxious? Some deliveries from the group members just underwhelmed me or annoyed me throughout, despite a few promising moments being present on the album. From Bearface’s parts on BOY BYE, the self-titled track, and ST. PERCY to even some of the production and instrumentals just sounding silly to my ears, I can barely find anything that stands out to me on this project. I can’t get into it sadly. This album misses the same level ... read more
Not all heroes are really heroes—there are those of whom would be easily labeled as such given what they’ve accomplished in different respects, but know that at the core, only a part of them deserves that title. David Bowie is one who undoubtedly deserves the title for his contributions to music (especially for his time) given the talents he displayed repeatedly on each of his records following his shaky debut: his boundary-pushing ambition, his unique shape-shifting style of sorts, ... read more
There we go! That’s much better. A lot more lively and there’s a lot of aspects of this song that I like.
By far one of the most consistently great house projects I’ve heard. It is a fantastic compilation from one of Deep House’s best: DJ Sprinkles. There are a lot of gems on this record with quality production and engrossing atmospheres.
The sheer absurdity of this album is what makes me love it so much. It’s so one-of-a-kind and so terrible that it’s good.
Better than the other singles so far. Cool instrumental, even though it can kinda feel a tad bit formulaic now. Not a big fan of Bearface’s part on the song but this is a step up at least. Still not too hyped for the new album.
>>> Schlangenheim, and frankly, it deserves more attention than that album considering the likely influence it had on it and how much more bearable the vocals are as well as how much the instrumentals grab my attention.