Just one of those albums where if you know you know. Should be revered as a classic. Second wave emo with tons of crossover appeal for alternative radio. Jason Beebout has the most powerful voice I’ve ever heard from someone who’s nasally.

There is no way a project in which two artists who have never worked together should randomly collaborate at a festival and in only one afternoon of practice take the stage to perform such effortlessly flowing psychedelic improv for nearly forty minutes like this. You can hardly tell where one artists' input ends and the other begins. If I had been there when this was perfomed and didn't know better, I'd assume they had been together for years. Well done, gentlemen.

So I had a huge skate punk phase in my teens and seem to have redeveloped a bit of a soft spot for it. This is most likely my favorite album the genre produced during its peak. Real energetic and melodic stuff that more than makes up for any lyrical shortcomings you might find. A lot of the awkward phrasing is probably due to them not being native English speakers. I cannot recall a band from the scene putting out as many positive vibes as Millencolin were though. It’s a nice contrast to ... read more

Can’t believe it took me so long to listen to an El-P produced, Nick Cave inspired, David Lynch approved album. Couple of tracks he’s a dead ringer for Spencer Krug. Pretty into it now for sure.

Deakin and Panda really carrying the EP here. Geologist track sounds like an interlude and Avey’s is missing his signature charm.

Proto-Death Grips

Somewhere in between being the catchiest post-punk or the messiest new wave of its time.

As much as I'm always looking for a chance to love a new TVOTR side project, this one just leaves quite a bit to be desired. Dave Sitek's production isn't as clean or interesting as it typically is here, and Daniel is bringing nothing vocally or lyrically to make up for it. The first couple of tracks are fairly promising as it kicks off with sort of a trailer park hip-hop vibe, but it deludes into lifeless, manufactured alt-country for much of the rest of the way.

If he could significantly cut down the use of his falsetto, I think he'd one of my favorite artists. The singles really got me to thinking this would be a masterpiece. It's a bit bloated. Don't see the need for a double album. Disc one seems to be thematically tied to multiplicity or gender dysphoria, but the second disc felt lyrically scattershot. Could've been separate projects and then maybe the album rollout wouldn't have killed the buzz for me. I will say, that if you're interested, the ... read more

I appreciate that it's more direct, which was a problem with The Ooz (maybe the most an album grew off me last decade). After the first few tracks open up relatively strong, I had a difficult time grabbing onto anything after that.

The production is really slick and captures the nocturnal vibes I feel he was aiming for. I don't think I've heard an album in this vein carried so much by choral arrangements though. Baxter kind of drunkenly weaves in and out at will with gravelly spoken word. I needed a little more substance, but it feels like it was on the right track to be special for me.

Hell of a lot better than Groove Denied from last year, as these forays into folk and psychedelia play much more to his strengths and odd lyrics than that clunky instrumentation did. A lot of really enjoyable, but maybe unspectacular, moments that any Malkmus completionist would be glad to hear. ACC Kirtan kicks things off by letting him get all the jam band vibes out of his system up front. Flowin' Robes is the most Pavement-esque song he's written for us in quite a while. Shadowbanned and ... read more

All hail the mysterious gap!

This will feel like the album that represents the quarantine the most, at least in regards to its production. Darnielle getting back to his boombox roots for his first truly lo-fi experience since 2002's All Hail West Texas. The Goats since that time have been one of my absolute favorite bands, but I don't mind the detour. I'm probably not locked into this one enough to break down the paganistic elements to the lyrics, but it's short and sweet enough to make for ... read more

Despite being short by their standards, it still feels too long. Not nearly enough variety in the musical ideas. It's easier to get through than 50 Song Memoir was thanks to shared vocal duties, but is much less ambitious and substantive. A lot of the songs are quirky, cute, and good for a chuckle, but I feel this project will have zero staying power.

Feels good to definitely say The Strokes have a third best album now despite lifting some familiar melodies. They love their synths now. I'm guessing Julian had an influence on that. Speaking of whom, I think that twenty years into his career he has now reached peak falsetto for him. No bad tracks, but Not the Same Anymore is the lone one that failed to leave any sort of impression on me, good or bad. I feel like I shouldn't, but I dig the corny vocal shifts on Eternal Summer. These are really ... read more

Doesn't matter how good the pen is if the production is going to be low key and subtle to the point of sleep-inducing. There are virtually no flows or melodies to be found. I don't get the praise for this. Clearly his weakest effort to my ears.

As someone who has really enjoyed his last three projects, I'm just not sure what I'm not hearing here that everyone else seems to be. Chill production, spotty features, and Chris is all over the place. This is the most annoying his performances have been to my ears. Feels like a more of a side venture to me, so I look forward to his next album to bring me back on board.

Energetic folk punk songs about heartbreak played almost without Paul taking a breath for eighteen minutes. The lyrics are relatable and nothing you really have to unravel, but they're earnest as hell. Sounds like he retreated to a cabin in the woods after a bad breakup with his guitar. What I'm saying is that this is kind of like For Emma, Forever Ago if Justin Vernon just got straight to the point.

It sounds like the cover, as if John is a European noble performing his trade in front of high society to provide distraction from the fear brought upon by WWI. The title track is simply gorgeous and majestic and would be one of my highest recommendations for a song you have to hear before you die.