This album is ALMOST phenomenal, but the vocals sound so drowned out by the production at points that it becomes a mess. The production really is the best thing about this album, it sounds so large that it gives everything that's being said so much weight behind it. But the singing can sometimes sound a bit slurred, like he's tripping over his words almost, and again, he gets completely drowned out at points. Still an amazingly impressive album from beginning to end, there were just a ... read more
This album sounds like a combination of "The Burning World" and "Children Of God", and I can't say I'm completely in love with the end result. One thing I can commend this album for is that Swans are continuing to evolve their sound, this sounds like a fully realized concept and album, no moment here feels wasted, which is impressive considering it's an hour long project. Also, it's a shame that Blind wasn't included originally on the album, because ... read more
Way more abrasive and busy than what else I've heard from Tim Hecker, and makes for a fascinating listen. There are parts of these album that feel very in your face and noisy, and other where it's much more ambient and serene. It's portrayed perfectly by the album art, it's abstract, but is still filled with light and dark. The glitchy production can at points be a little overbearing, but it's surprising that an album that has these two sounds almost fighting each other ... read more
This being related to Godspeed makes a lot of sense, since this sounds almost like a prelude to "No Title". The songs here are really interesting, relying heavily on ambience, which makes for a pretty unique listen, especially within post-rock.
A really interesting album on a technical level, but I didn't personally gain a whole lot from this album. I can appreciate Moor Mother bringing her distinct style of writing and delivery into a more jazz-focused concept, but I just don't find it as powerful as something like the combination of power electronics and abstract rapping that was seen on "Fetish Bones".
It's a bit of a shame to see a lack of any real growth in the last 7 years, but honestly, this album is still pretty good. I can say that this album sounds a bit smoother in its production, but I wish everything about this album was just a little better. Orion Sun's vocals are great, but there isn't much range at play here, with the exception of being one small rapping part on "Twilight Zone". I need to state, this is a very pretty album, but I just wish there was more ... read more
I think this album hits a lot of really high highs, especially in the second half. I really like the singing, it's not too overbearing, and works with this style of production. However, not enough of this album stands out for me to consider it a truly great album, though I can see it growing on me in the future.
Some of the most beautiful music I've heard in a while. The singing is great, and works well with the slow, almost methodical production, pretty much every song on here is incredible. Super underrated.
This is such an ominous sounding project, the writing feels abstract and dark, and the facts that it's completely spoken word adds so much to the atmosphere of the track. The fact that the production goes through these periods of being really loud, to subdued, to almost completely nonexistent, is genius when matched with the writing. The subtle glitchy-ness of the vocals, especially towards the end, really makes for an incredible climax.
Kenny Beats' production here is great, the random features also do a really good job, and I really liked the personal moments on a couple tracks here, it adds a level of uniqueness to the album.
The first two songs here are GREAT, Rico Nasty's delivery is super high energy and elevates the track a lot, and Kenny Beat's production works really well. For the rest of the tracks? They're fine, the features didn't really add anything, the production and delivery felt a little more generic. Honestly kinda disappointed at the overall quality of this record given its incredibly strong start.
This really is everything you could want from an Armand Hammer project, abstract, surreal, but bleak writing, great chemistry, and unique and fresh performances. Al's production with these guy's rapping and writing is a match made in heaven. "Stonefruit" is a beautiful closing track, it has some of the most unique performances I've heard from either woods or E L U C I D The only thing holding it back is that I think a lot of ideas here have been surpassed by later ... read more
A lot of interesting ideas here, I like the implementation of some house elements into an already experimental hip hop project. There's a pretty unique sound to this also, I think there is a lot of potential to bring this sound further, because there are some shortcomings.
This being the last album released in his lifetime: "I'm New Here" is a far cry from Gil Scott-Heron's origins as a musician. The very soulful, live instrumentation that was present on "Pieces Of a Man" is now replaced with electronic, industrial production. I don't mean this in a bad way, I think this is an interesting way to close out his career, and it works with Gil Scott-Heron's very rough, aged vocals. Something that's stayed consistent between ... read more
Marisa Anderson delivers another rich, deeply layered, textured collection of guitar instrumentals. Here, she sounds more focused on creating this brilliant soundscapes rather than focusing on melodies. This might be my favourite from her, it's not doing anything radically different to her other albums, but it succeeds on what it sets out to do really well.
This is Phil's magnum opus, not necessarily his best album, but the one that says the most about who he is as a person, and how he views the world around him. Sonically, this is most similar to The Microphones than anything under Mount Eerie (At least of what I've heard), this, in addition to some moments in the writing referencing some tracks off of "The Glow Part 2." feels like Phil is closing the book on that portion of his life. The writing on this album, like many of ... read more
Knowing that this was originally recorded in 1975 makes this album a lot more impressive honestly. It feels really ahead of it's time in that sense. That being said, I didn't get a whole lot from this album, it felt too short to really succeed in what it set out to do, and didn't really leave a lasting impact on me. I still respect this album's existence though.
Solid album from Freddie. I think is style of rapping goes well with this style of production, the writing was pretty decent as well.
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"@Phiroman I think it comes down to a personal preference thing, my favourite JID tracks are the ones where he's the main focus throughout. Not saying he can't bounce off others well, but I think he really shines when it's just him rapping his heart out."
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"@Phiroman I expected this album to be weaker than the forever story, but it's weaker in ways I wasn't expecting, if that makes sense? I appreciate him not trying to recapture the forever story's magic, instead stretching his legs and trying out different musical influences on some tracks. I think by "disappointed", I just mean that I wish this album was more consistent quality-wise. Also by "Not giving it his all" I was referring to the tracks where the features feel like they do a lot of heavy lifting, and JID is less present than I was expecting."
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On HEAL XO - dis/ambiguate
"@healio I suppose music like this would be better to experience live, I'll have to check out some of the music you suggested, it's not a genre I have that much experience in"
On HEAL XO - dis/ambiguate
"@healio No problem! Do you have any recommendations for albums that sound like that song?"
On HEAL XO - dis/ambiguate
"@healio I would say my favourite track would be "nuit (poissons lune)": the way all the different vocals are layered on top of each other is simply angelic, there's something so soothing and meditative about that song, it's the highpoint of the album for me."
On healio's review of Tristwch Y Fenywod - Tristwch Y Fenywod
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