Apr 15 2025
Wild Is The Wind
Nina Simone
Album cover is beautifulā super distinct hot pink with sketchy black brushstrokes? Charcoal?
1. Blues generally isnāt my thing, just too formulaic. Love the backup vocals juxtaposed with the primary, and Simoneās vocals are mixed in a cool wayā super flat and forward in the mix.
2. ā4:44ā by Jay-z sample? Goddamn what a piano line. Way more minimal instrumental than the first track, gives her more time to really grab hold of your attention, of the soul. More small details in inflection and such for the listener. Lyrics are incredibly poetic and distinct, color and texture used prominently as sensory details. Lil bit of flute, but very low notes, so timbre plays with lower piano keys and the dusk Simoneās voice. BLACK MUSIC. āPeachesā sung without concern for meter, powerful.
3. A little forgettable, but only because the following track is perfect.
4. Gorgeous.
5. Weirdly short, feels incomplete. Voice is gorgeous though, little bit more bass in the mix than previous songs.
6. Just donāt think this one is for me, the mixing of her voice is a disservice here where itās a credit on other tracks in that itās so forward, and the reverb really washes out the rest of the instrumental. Ends too early too, I hate these fade-outs.
7. Like the strings on this, wish they were used more. The guitar kinda has an accordion vibe, and it in tandem with the percussion gives this a very French romantic kinda vibe, but a bit more summery and jaunty. The fade-out comes more naturally too, and feels less like an abbreviated song and more just a short one.
8. Pianoās allowed a lot more freedom, and the twinkly improvisations play really well with her voice. Last couple of tracks have lacked such distinctive lyrics as earlier in the record, though. āLike a leaf clings to a tree / oh my darling cling to meā is great, but it was what made me realize such moments of appreciation hadnāt happened recently. Do love that line though. Much longerā I assume the live versions donāt use the fade outs the way the studio tracks do? I much prefer it, the band fills the space and it gives Simone herself more room to roam. Song builds energy to a conclusion, feels natural, feels much shorter than ~6 min.
9. Beautifully minimal. Titular line is super powerful.
10. Sequencing of the project kinda confuses me, like this is just a less distinct version of the previous track imo
11. Masc baritone vocals kinda feel out of place. Saxophones great, surprised thereās not more elsewhereā compliments her voice well. Incredibly annoying to me that this album ends on a super early fade-out in the middle of a sax solo, so weirdā just let the track play! I imagine it has something to do with fitting on a single LP, but then just trim a couple songs from the tracklist man. Really frustrating.
3
Apr 16 2025
Californication
Red Hot Chili Peppers
Decent album cover, the colors are strong and texture is good. Not iconic or anything, but memorable enough and good.
1. Chorus and verse feel like different songs. But hey, chorus is good, and the bass really brings it all togetherā even if Iām not a huge fan of the vocals
2. Can already hear the loudness war shit here, this song clips to hell and back. Chorus is unforgivably poorly mixed
3. Classic riff, vocals match the beachyness perfectly. Fruscianteās solos are super tasteful.
4. Good song, but damn the bass is loud dude. Just weird to listen to this when everything is at least competently mixed these days.
5. This kinda stuff is when the pseudo rapping works. Little bit of Primus, just less weird. Never really opens up, feels claustrophobic til the end
6. Lyrics stand out here more than a lot of peppers songs, even beyond the classic titular coining. Drums really drive this song forward while strings take a backseat, works well though. Band has good balance throughout the album so far.
7. Drums sound god fucking awful, like recorded with an iPod touch bad. Very forgettable overall. Guitar solo at the end is fine, I like the layers. Def not worth sitting through the rest of the track.
8. Good choice for the sequencing of the album to slow it down a bit, but even besides those kind of logistics I think this song is pretty interesting. Does kind of feel like they didnāt know where to go with it, but I really like how the titular āporcelainā is sung, the brushes are a nice touch, and I like that the subdued tone doesnāt overstay itās welcome. Good
9. What a nothing burger man, boring verse and boring chorus. Sometimes Keidisās choruses sounds like heās just some guy doing a Peppers song for karaoke
10. Good energy, I like the delivery of āliving the dream,ā and the fun effects. Short but great Frusciante solo, woulda loved an actual hook/chorus though.
11. Unplugged electric guitar sounds cool on this, and I like the backup vocalsā wish they popped up more, gives the song a nice little beachy sense of camp. Drums are good, this song just suffers from not having something super memorableā guitar line or lyric or whatever, like itās a fine song but just one I donāt easily remember. Muddy mix when the hook kicks in doesnāt help.
12. Theater-core featuring the Peppers is kinda odd, but Keidisās voice works with a bit of a melodrama behind it all. Itās fine, I like the work on the toms and the sleighbells are fun. This just isnāt what people listen to the Peppers for, ultimately. Doesnāt feel very cohesive, either; āthe tempo changes for one, but the effects and instrumentation donāt convince me of their synthesis.
13. God fucking dude the vocals peak so hard. Flea fucks on this though, and itās fun, just a little shallow. Love the breakdown at the end, though, Chad Smith really gets to show off his chops; wish he had the chance to more, but thatās also my bias as a drummer.
14. Nah man, they just canāt pull this neutered punk sound off. They just doesnāt commit to the edge needed to justify these explorations, dipping back into chord progressions and smooth vocals so quickly. Meh.
15. Fine last song. I like the strings, and think Keidis shows his range off well. The Peppers are really really good at their chosen instruments, like to such a degree that Iād say theyāre underrated musicians despite there being a decent amount of respect for each member here and there. Still, wish they could more consistently find form and execution the way āScar Tissueā, feels like thereās some ambition missing or something.
2
Apr 17 2025
Nevermind
Nirvana
Classic album cover, how delightfully goofy. Underrated are the great fonts in the bottom left.
1. Hot take: this is a very very good song lol. Legendary fill, killer riff, phenomenal modulation of tone (both guitar and generally) and really cool lyrics delivered phenomenally. Itās iconic for a reason. What a solo, too! Simple and tasteful but epic at the same time. God, those chorus vocals though, so good. The grain in Cobainās voice is so alluring. RIP, off rip
2. Drums fuck on this, love the triplets in the chorus and toms in the post chorus. Canāt say enough about Cobainās vocals and lyrics, incredible stuffā that roar going into the chorus gets me stoked every time. Mix is a touch flat, but not horribly so. Guitar solo is dope. Canāt shake the feeling the song should be like 2 clicks faster.
3. God fucking damn dude these three tracks being the first three on the project is just insane, just about the strongest start to an album you could possibly ask for. Something about the lyrics of this are really compelling, and Cobainās choice to flip the norm and have more grain in the verses and more smooth timbre during the hooks really work. Wish the drums were a bit more ambitious. Just a great song overall, though, that guitar tone is so Biblical dude, got that black metal kinda tone. Killer track
4. To be a bit critical, this driving sort of pseudo-metal kinda thing is a little trucker rock, but the crunch of the guitar is dirty in the best way and I like the hook. Could do without the repeated lyrics during the verses. I worry the song form of verse-chorus-verse-chorus-solo-chorus is gonna wear thin by the en fo the album, but in the other hand thereās so many pre and post chorus thingies that maybe it wonāt matter
5. Oh yeah dude forgot this song was on this record, what a crazy project. Cobain makes āYeahā a legitimately successful hook, which is, you know, stupid cool. Feel like there could be a little more instrumental heft when things really kick in.
6. Besides the crashes being weird af and totally unnecessary, I really liked this acoustic take. Gave cobain room to breathe and really grab the attention, though I feel maybe he could have taken even more advantage of the opportunityā it all comes out a bit textureless? Still, good
7. Yo this rips, did not know they had this punk in them to this degree. Bit of Fugazi DNA? Love the screams, but Grohl steals the show, so good
8. Itās like, good rock guitar chord progression, chorus is pleasant. Just not much distinct, not much worth coming back to. The buildup could be that, but just feels like itās a little forcedā I like some of the choices they make, but the textures end up feeling disparate from the otherwise by-the-numbers instrumentation and vocals
9. This band has some serious range, I hear a bit of British Invasion here. Cobain is firmly grungey, but the band around him really takes his talents in cool directions. Love the screams juxtaposed with such a poppy hook
10. Meh. Iāll use this chance to say the mix on this record is greatā the snare on this track sounds absolutely incredible. Love Cobain just losing his shot for a second after that lil bridge thing.
11. The four-chord progressions are really getting stretched thinā what happened to the first five songās flexibility in riffs and central ideas? Second half of this album would feel samey without some really good individual performances, most often by Cobain. Here, though, āIām on a plain / I canāt complain / Iām on a plainā isnāt exactly scintillating lmao
12. Oh yeah wish this was the closer to the album honestly. What a great piece of music, the buildup is just immaculate, and love the addition of a strings section- it and the backup vocals really sell the tension. The acoustic guitar is so well miked, I can hear the strings and pickās/fingersā (I think itās the latterās) texture so clearly, really cool touch.
13. Wiiiild guitar tone, trashy as fuck. This is the kind of song Iām talking about when Iām speak on distinctiveness, they put every fabric of their bodies into this performance man. I take back what I said about the last song, this is a great closer for this album. This shit must have been incredible live.
4
Apr 18 2025
Illinois
Sufjan Stevens
Being that my hometown is a suburb of Chicago, Iām thrilled to have an opportunity to sit down and listen to this album in full. Dunno why I havenāt yet, just one of those projects Iāve always put off. Love what Iāve heard off of āCarrie and Lovell,ā adore his collabs with Angelo de Augustine, and excited to dive into this.
Album cover is goofy as hellā feels like an illustration on a board in a small town museum, in a great way. Very hokey and likable. Immediately enamored with the hilariously specific and long winded song titles too.
1. Kinda want the tempo to slow down a couple of clicks? Doesnāt feel as patient as an opener should be. Okok wait the flute is incredible, and his voice is a fresh witchhazel wipe to a flushed face. Love that the first song is about a UFO sighting, makes this project feel campy and sincere and earnest and silly and good. ā3 starsā like those of a night sky, but also like a ratingā funny. Great opener.
2. My singing monsters type intro? Clarinet (oboe?) and flute go dummy, though, love the orchestral notes throughout these first couple of songs, feels really ambitious These trumpets are making my home state feel kinda epic! Weāre on the edge of theater-core here, and it would be schlocky if it wasnāt perfectly doneā since it is, itās just delightfully camp and catchy to boot. Woulda been cheesey if it were the album intro, but for some reason works great as the second song.
3. God his voice is just pleasing dude, just pleasant!! Kinda no idea what these lyrics are about but they sound good. Very jaunty, nice upbeat tempo and the 5 sounds great. Wish more indie stuff was in 5, it just feels perfectly quirky and fun. Worried 6 minutes would be too long, but the song is super patient and layers really nicely. Just a good sounding song!!
4. Ugh dude a song named after and about a serial killer should not be this pretty lmao WOW! Falsetto is so vulnerable and beautiful over gently diligent guitar and stumbling piano, subtle backup vocals are great, and goodness the lyrics are spellbindingā that last line, āunder the floorboards,ā gives Poe a worthy spiritual successor. Iām immensely impressed by the mic and mix quality, Stevensās voice is so close, so intimateā I can hear the mouth working and soft breath texture and it is very forward in the mix but the instrumentation is still so lush! I think they panned all the instrumentation either slightly left or right and kept the vocals front and center, and it allows everything to operate as a whole while still having space for breathe. Great stuff.
5. The banjo is hokey for two seconds, and then it just submerged itself into the mix of Ladybug Transistor trumpets and beautiful strings and some lovely electric guitar noodling, that just kinda sounds like someone improvised one long solo over the song! Itās all so organic and folksy in the best way. Drums are to the left, shakers are to the right, cool balance, I have mo idea what his lyrics are saying ahaon, but I just like how he says āAndrew Jackson.ā There hasnāt been a bad outro so far too, and this is no exception: strings seem reticent to end, and mourn the songās passing before finally growing quiet. Love
6. Ah okay that strings outro I was talking about was its own songā love the song title, love the moment, feels very natural and I wouldnāt skip it. This and track 8 are really nice touches, makes the album feel really cohesive and fun
7. Sequencing is great so far too, banjoās introduction last song leads into what is proper Americana folk, accordion and all. Delightful lyrics again, feels like a childhood roadtrip. Word to Abe. Such great balance of treble and bass on all of these songsā because Stevens has a generally breathy and trebly voice, the hurdy gurdy (or maybe itās just low notes on an accordion imitating the drone?) give the lead vocals and their accompanying backups a solid foundation from which to roam. I like the clapping at the end, for some reason it feels like a part of the song in a way a lot of clapping doesnāt.
8. Lmao no wonder the clapping sounded like a song, it was one! Cute, and I wouldnāt skip itā fits like a glove
9. The central rhythm and melody of the vocals is super catchy, but I do think the instrumentation takes a bit of a backseat this song. I do like the vibes (word to the vibraphone too lol), but Iāve just been so pleased with how intimate and ornate the songs have sounded, this feels a little composed. Itās still super catchy, though, and feels really bombastic and certainly still carries emotional heft. The trumpets still continue to be essential to the DNA of the song. Vocals could stand to be like 2 dbs louder, and could do without the sleigh bells. I dunno, this song is the weakest on the album so far imo and itās a strong strong 7/10, so. Hrm maybe 8/10, cos the lyrics feel really personal and human and good.
10. Side note, my high school marching band played in the Pulaski Day parade, itās like a Chicago thing because the Polish community is big and also the parade in Ferris Buhlerās Day Off and oooo heās talking about cancer oopsy. Okok love the dueling acoustic guitar and banjo, the former is space heater warm and the latter is your favorite scratchy wool blanket warm and Stevensā voice is like Swiss Miss hot cocoa made with 2% milk warm. Absolutely adore the lyrics in this, doesnāt sacrifice meter or rhyme to tell a great human story. Super impressive. Just a beautiful song good God. Outro with the ādadadaasā layered with trumpet and the guitar and banjo and subtle backdrops of synth and flute itās all so textured and warm and good!!!
11 Holy intro Batman omg I could listen to those twinkly plink cascades of guitar piano and vibes and percussion all fucking day dude, shit is musical ASMRā everything is panned super far out to the right or left except the trumpet and piano are kept center and itās incredibly satisfying
12 trashy guitar tone bookends lovely indie goodness, really like how the edge being draped in satin backup vocals and cute glockenspiel accents. Just a nice track, though my brain doesnāt like how he says āman of steelā as much as how he says other things (e.g. āAndrew Jacksonā from earlier) and that is kind of the heart of this song. Not a standout, and probably a touch too long. Still donāt think Iād skip it on future listens though.
13 Gos I love vibes dude they sound so good, wish they were used more often. Love the old timey synth and oboe, crazy combo. This kinda tries to do that layering from the 11th track, but I think there might be a little too much here, the vocals totally get lost in the sauce and the drums and oboe are a bit too forward in the mix. Sleigh bells work better here to give some whimsicality, just kinda doesnāt all come together as cohesively as most tracks here.
14 cool little interlude, little bit of a sudden transition into the next track but Iāll allow it
15 loooove the plot flute intro. Feels like they clocked that the flute is just a great pairing with Stevens, and I agree. Penguin Cafe Orchestra feels like another point of reference for this song with all the orchestral and choral elements! Irked I didnāt connect that sooner, instrumentals are very āSings of Life.ā Vocals are still so special though, love Stevensās performance in this. Love the repeated image of the titular āwasp.ā Drone outro sounds crazy cool, but kinda sudden transition here tooā first questions raised about the sequencing
16 kinda by the numbers guitar riff, which feels odd this far into such an intricate album so far. Still built well, got me tapping my foot. Not super convinced by the backup vocalistsā hook. Funny song title, just wish the tone shift to more tension was used more substantively, feels kinda directionless
17 Strings plus bits of vibes interlude, catchy enough but not a standout. Transitions into the next song well though.
18 Julianna Barwick type vocals cloak this interlude in ethereality, i think itās beautiful and really cool. Just odd to have two interludes back to back like this, but fun! But wish the first was as meaty as the second
19 Funny pun in the song title justifies by cool lyrics about looking down from the top of the Searās Tower. Dunno if this was written before the name change, but true Chicagoans will never call that magnificent temple the W***** Tower! And Iām definitely one of those lol uuuh good song but long album, starting to feel it on a slower song like this. Whoās Emmanuel? First truly forgettable song on this album, if it werenāt for the song title and cool vocals over from at the very end
20 Now hereās some proper Broadway shit. Them claps are crisp! Or is it more Wes Anderson movie? Love the play with time, alternating 5/8-6/8 sounds great, especially with such intricate piano and oboe lines. Cymbals are panned so far back and forth, weird but fun. Delightful listen, really justifies its length and reinvigorates my ears just as I was flagging, def a standout
21 very jazz trumpet for sure, so much texture in each tracked trumpet. Cool interlude
22 we made it! Very cool Steve Reich sorta intro, āCournerpointā-esque pulses complete with mallet percussionā had to be an inspiration. In the context of this albumās intricate webs of rhythm, though, such unison is almost unsettlingly whole, and when the pulses start to splinter and separate Iām almost believed to be within entropy again. This is just an absolutely stupendous closer to an absolutely stupendous album. Piano being the last note after the vibes get a little solo sounds like Stevens gives a little thank you to Reichā but also the beauty of Illinois as a state. Just great.
5
Apr 19 2025
Beauty And The Beat
The Go-Go's
āWe Got the Beatā by the Go-Gos
First album I donāt recognize, though I do know āWe Got the Beat.ā Love the album cover, feels very Rococo? Or at least sunbleached. Looking forward to some ā80s.
1 Bit of an overexposed mix, but I like the sunny guitars. Oh, totally recognize the hook! Catchy as hell. Wish the bassline was a little less plucky. Always thought they were saying āI love Lucilleā lol. Pre-chorus is perfect too, love that they interrupt choruses to come back to it. Great song!
2 Wow, dreamy! Love these guitars, good layers super well mixed. A lot warmer than the first track. I think I need to drive in a covetable with long hair to this album.
3 Still fun, and I like the chorusā but the verses are pretty forgettable, and the crash cymbal pisses me off something fierce, itās way too frequent and flat.
4 Bass lineās great, but lyrics are pretty corny. One thing Iāll say though is that these are pop songs that donāt overstay their welcome, which I appreciateā they still feel complete and whole but are succinct all the same.
5 Okay so I think the vocals are still great, but the limited range is pretty obvious when listening to an album. Thereās songs seems like theyād shine brighter as singles, but sequentially they feel pretty samey. I do not care about āThis town,ā Iām afraid. Guitar solo was pretty weak. Like how the drums are mixed, bass is still really good, meh overall though.
6 Oh yeah this song is iconic for a reasonā the bass and keys play off of each other in a really cool way, her range really stretches in a fun way (love the offer register growl) and the drums propel everything forward. Phenomenal song, no notes.
7 But like, see how much less this tried to be its own thing than the previous song? Super forgettable.
8 Oh ok love this, love the tempo change and creepy crawly bass and drums and she says every syllable in āautomatic,ā and that one time where she pauses for a totally silent moment Newfie saying it againā itās super fun and distinct and I appreciate the change of pace. I even think the fade-out works pretty well to end the song, despite my predisposition to dislike the choice! Yay
9 Itās fine, I like the guitar getting a little surfier. One of the better songs from this formula they gave but still kinda forgettable. I just wish theyād yell something, or have a weird lyric or solo, or something that marks this as different!
10 āThey say get a mechanic / I say get a shrinkā is a crazy good line on a song comparing love to a race. The lyrics on this do what I was talking about with the previous song, it feels like it has its own personality way more because of the goofy car and heart lyrics, and there are less general abstractions like ātownsā and ānightsā and āworlds.ā
11 Feels like the tone of a closer, so thatās goodābut just forgettable again. Bass lines hood, drums and guitar are formulaic, vocals are fine but nondescript besides her distinct timbre, which wears thin over an album. Really wish more songs stretched her vocal capabilities like āWe Got the Beatā or even āAutomaticā did. Itās good collection of ā80s pop songs that I would say is a weak album as a whole, but the highs are high.
3
Apr 20 2025
John Prine
John Prine
First album where I donāt even recognize the artist! We got a proper country boy hereāI do like the typeface up top and how tiny it is, but otherwise Iād probably write this album off as not my thing at a record shop.
1 well thatās what my biases get me man, this is really great! Really charming, human folk thatās legit funny to bootā āA bowl of oatmeal stared me down / and won,ā and āI called a rainbow down a one-way street / dead-endā are Mitch Hedberg esque one liners that both got an irl chuckle, and I just love the whole idea of Americana defending weed! Well paced song, I like how the chorus slows down a touch, seems to invite you to sing along. I like the instrumental generally, itās impressively catchy given how forward the vocals are, good balance without taking the spotlight from the lyrics. I think thereās a bit of a drone or something in the third verse to accompany the more paranoid sobering thoughts, which I love, before silliness is reestablished by the totally nonsensical collection of non sequiturs that of the outro. Fantastic first impression.
2 Yo, based proto-anarchical Christian love song, erm, yes please! Okok 2/2 man this is great too, great story telling and cute as hell and I like how he says peaches and āFor I knew the topless lady / had something up her sleeveā is goddamned hilarious (especially since sheās dancing the hoochie-coo lmao) and itās all just likeable! Instrumental is fine, not quite as catchy as the first track but perfectly serviceable. Good!
3 The first two notes on the guitar are the exact same as the very first two notes of track one, probably not great for the variety of the album if weāre already repeating keys. I do like the electric guitar tone and keys on this though, so still a good sound. A bit more homey, folksy Americana on this, little less jokeyā well done, though, just different. I like how the bass comes in on the chorus, really gives depth and heft. Lyrics are a bit less memorable, but still pleasant. I like all the names he uses. Ah, he gets a little quirky at the endā āa hollow ancient assā sure is a silly way to address old people. Word to old people!
4 Keys on this have a bit of a steel guitar sound. Like the acoustic guitar panned to the right. Yo I know this song!!! I know a cover of it, but I canāt remember who, one sec. Okok I think Iāve heard the Johnny cash version. The line āThereās a hole in daddyās money where the money goes / Jesus Christ died for nothing I supposeā is just an incredible line, and Iām bummed that cash took the latter half of that line out, kinda cheap. Strong, powerful song. Something like sitar at the end? Or a mandolin with heavy effects? Really cool. Oh, or Iāve heard it on Spiritualizedās song āCop Shoot Cop?ā Yeah wait itās totally that, cos I remember the āhole in my headā line that follows. Cool interpolation. Anyways, fave of this album so far. Sad as fuck. Great.
5 Critique on the development over American nature, very progressive and dope. Folk and country often used to be on the forefront of what we see now as liberal thought, funny enough. Good song, even if the instrumental is not too uniqueā my heart breaks a little every time he says ācoal train.ā
6 Again, speaking to violence and the assault of women, not to mention religious unity, in a super modern way while still making a banger. Love the electric guitar fuzz, love how hard the rhythm guitar and drums are pannedā kinda Blue Note. Third verse is particularly catchy, word to Allah and the Buddha at the last supper, funny but also poignant.
7 āI was digesting readerās digestā is immediately funny, but the lyrics throughout balance wit and social critique perfectly. True cowpokes are anti war!! God man there is just not a bad song on here.
8 Huh well right after I say that, this didnāt hit like the rest of this album did. Thereās a bit more nuance and observation than the average pining for a love song, and I like the glockenspiel bits and the hard panning, but somethingās off. The pacing of the verse is kinda weird, or maybe itās just a meter thing? But yeah, not quite as excellent as the rest of the record so far.
9 Hm okay meter of the verse on this one is weird again, donāt know what the drummer is doingā kinda hard to feel the picket outside of just up-beats. Lyrics are the most banal that theyāve been, I donāt care about an āold rodeoā as much as I care about the other specificities elsewhere on the album, and the use of fem pronouns is coolā probably a cover? Dope he didnāt change the words if it is, even doper if thatās just a choice he made. Still catchy enough, nice and bluesy. Just feel like weāre losing a bit of steam here.
10 See here we go, love the personification of the week days as time and information washing over the everyday, super creative. Very Bob Dylan for sure. New choice to repeat a couple lines towards the end, theyāre not his best but certainly good. Liked it!
11 The steel guitar is kinda wearing on me, because it just sounds the same every time. Wish it was used a bit more sparingly so it could maintain its potency. I like the lyrics, very simple poetry in a cute way. Dreamy and kinda surreal, almost like psychedelic Americana? Prine really does have that thing that truly great vocalists have where he just says words and they sound specialā āFirst breath from a babyā as an example. Really really liked the outro, wish that melody was used elsewhere, or otherwise just foreshadowed
12 Love the electric guitar tone. This really showcases the mixing of this album, everything is so forward and yet all sounds so good and balanced. Listen to that bass man, wow! Love that he sings about changing diapers, just something super humble and cute about it. Oh god sad sad lyrical turn in the third verse. Damn, really recontextualizes the whole thing. Lovely losing about being grateful for the small parts of a domestic life.
13 Whoa, jaunty closer! Wouldnāt have guessed that, thought we were kinda winding downā fiddle? Woo! Fun! Iām square dancing yeehaw, lil ragtime piano? Best guitar solo on the album! Damn dude great stuff just a really catchy fun song. Really really good record overall!.
4
Apr 21 2025
Superfly
Curtis Mayfield
Yo, a OST? Dope! Big budget methinks
1 Fucking GROOVY there is a lot going on hereā congas and sax and string section and vibes and harp?! Goddamn smooth as hell, introduces the audience to characters and settings in a cool way too. Wish the vocals had a bit more umph to them, either in mix or execution, to match the cinematic quality of it allā but theyāre still smooth as hell, which is good. Drums really kick into gear towards the end, good energy throughout. Good pacing, could be a bit shorter but itās a movie theme so. Great
2 Rototoms? Off rip? Youāre spoiling me golly MM thatās some rhythm love the vocals immediately, soulful like a smooth rock skipping across a still pond. Love that he backs up, lets the instrumental breathe plenty. Itās patient, but insistent. God dude I wanna like make someone think Iām hot to this. Very unique track in that it feels longer than it is in a good wayā doesnāt usually work like that, but this time dilation some good shit. Def donāt mind the fade-out, itās tasteful and well-timed
3 Hm okay the story telling is a little on the nose on this one, a little too broadwayā still fun, though, and damn if the string section isnāt sweet. RIP Fred ig. Truck driver key change is a little corny, but I like the muted trumpet that kicks in. This is the theme? I guess. āFred is deadā is def catchy enough to be a tagline, crunchy bass is crunchy, okay this is growing on me. Little energy break, lovely little harp accents! Yeah yeah ok Iām with it
4 Horn sectionās time to shine! This is more OST, perfectly catchy while not demanding your attention. So much of soul can feel samey to me, capturing vibes more than substance, but because the instrumentals are so diverse and eclectic so far I feel really fresh. Silly title though lol
5 More OST kinda stuff, until the vocals kick in ok nvm. Not loving the hi-hat just playing slow 16ths in my right ear, really distractingly loud. Melody on this is nice, wish the harp had more to work with than just the occasional flourish though cos itād play off the flute and higher-register piano really well. Yeah, just groovy stuff!
6 Euyugh, a triangle? Duuuuude nice. Eddie, think of the tears and fears! Guitar sounds likeā NO THAT TOTALLY IS A THEREMIN! Or a guitar with the sounds of the strings being plucked edited out lol. God dude this album is just delightful. Strings offer real tension, especially in the post-choruses.
7 God dude, just an immaculate mixā so much going on, but itās all so well composed and controlled. Love call and response with the vocals and the muted trumpet. Could be the poppiest so far, really goddamned catchy. The one consistent throughout this record so far has been grooving conga, and itās really paying dividends hereā allows the form to dip more towards pop and funk while retaining that soulfulness. Lil sax solo? Kinda distant, the piano is so forward. Wish that got mixed better. Back to biz afterwards though. Kinda misleading to subtitle this āCocaine Songā haha, def promoting a clean life? Or at least the semblance of one. Sunny and fun. Listen to that piano twinkle in the back, and the bari sax gently roar! Sure is funky! Nice slow fade-out, thatās classy. I think Iām really coming around to fade-outs
8 Oo taking it down a notch, beautiful tone to the guitar. Could see Nujabes sampling this. Wow, glockenspiel all the way in the left ear sounds absolutely stellar, celestial. Oboe? Bassoon? I always get those confused, but itās one of those fuckersā sounds great. Such a fresh OST, so much experimentation while still sounding cohesive. Weird little rhythmic thing, kinda feels like they skip a beat somewhere a couple of times, thatās odd. Love the sax swaggering in. Half time really feels great leading in to the final song on the record, feels like weāve come a long way. Very cinematic. God yeah this is for a movie! Crazy stuff man.
9 God I have never been half as cool as Curtis when he says āSuperflyā lmao. Can def hear the Blaxploitation in some of the lyrics throughout this record, but itās played so lovingly and beautifully that I canāt help but feel it lives beyond its roots. I havenāt talked enough about the vocals, his delivery has really grew on me, heās got a feather touch to consonants that is just pleasing as heck. Wild instrumentation for the title trackā steel guitar kinda sound, heavy use of rototoms, deep brass. Eschews the earlier use of strings in favor of more big band feels on the latter most songs of the record. What a timeless record that is distinctly 70s. Oxymoronically phenomenal.
5
Apr 22 2025
My Aim Is True
Elvis Costello
Cover kinda hurts my eyes, but itās distinctā I think itās good!
1 Ergh okay really not my thing, just a pop song dressed up by tepid punk aesthetic and a least common denominator bit of anti-capitalism. That clap sound affect is particularly heinous
2 This has a bit more personality, drum and guitar have a bit more room to roam and the vocals are way more interesting. Kinda annoying lyrically, but the band just seems to be having more fun here. Fade-out seems like a cop out from having to actually end the song though
3 Recordingās a little lofi, gives it a nice little fuzz and crackle, I donāt hate it in the context. I think this just isnāt for me, though, like itās decent pop, but it seems to suggest some rock edge that doesnāt actually exist? Like the vocals are passionate, but I just donāt buy the whole package as a whole is actually invested the way it seems to want me to think it is. I worry this is just me calling something formulaic because Iāve heard it before, when in reality it was actually watershedā like, I will say itās an impressive debut?
4 But nah, this is just watered down blues. Vocals are still the best thing but everything else feels flat. I like the guitar tone but it all feels undermined by the stubborn pop sensibility.
5 Predictable sequencing to slow it down here, but Iāll allow it because itās well done. More space in the instrumental means I have more room to enjoy the really impressive vocal performance, and Iām more emotionally invested in the lyrical content too. Guitar noodling is a little aimless, but the cool keys feel me back in. Feels like the fade-out here is a choice rather than a compromise. Could see Wilco/Jeff Tweedy doing a cool cover of this song.
6 Back to this pseudo honky tonk bullshit. Am I just in a cynical mood? Would I enjoy this rag piano more if it was a sunny day? The occasional clipping and insistent pingy ride reassures me that it probably doesnāt matter.
7 Obnoxious radio title is obnoxious, but this is the most I buy this pop-rock fusion thing. Specific, memorable lyrics with a more distinct psychedelic tone to the guitar. Fave song so far, o think, but three songs in a row that end with this fade-out as lyrics are repeated thing is really straining the album experience
8 Good god how were these drums recorded?! Intro has full on cuts, much less clips. This song sounds like shit and after the very competent and pleasing makeup of the last track, thereās no excuse. Sonic edge can work when you have something to be edgy about, and the lyrics do their partā the verses are legitimately interesting and feel like they have something to say. I just feel itās undercut by a cloying hook and another goddamned fade-out. It feels formulaic, and consequently insincereā which sucks, because thereās a world in which this song works really well.
9 Youāre kidding me, dude. Just because your name is Elvis doesnāt mean you have to whore yourself out to this sound. Nah ok Iām being an asshole, this song deserves a look on its own merits: the tempo is ever so slightly bumped up from the usual, and in tandem with the pointed vocals, thereās little bit of something punk here that feels interesting. Good god though, the mic clips every prechorus and the fade-out is cheaper than ever. Just end the fucking song you cowards! Not nearly punk enough to justify a 1:37 runtime, itās just lazy.
10 Nondescript lyrics, but I theyāre really well metered here, and the prechorus has a really interesting set of chords. Bass feels very competent throughout this album, and has a couple moments in the mix of this track in particular that prove it. This GODdamned FADE-OUT god FUCK itās so DUMB. Okok this song was one of my faves though.
11 I could see someone who fucks with this sound more than I do feeling like this is a fun track, but Iām just not having enough fun to justify this kinda tone. āIāve got this camera⦠/ ⦠smiling with your legsā are two really great lines sung really goddamned well. Hrm okay contrary to my prior assertion, Iām having fun. Twinkly guitar is nice, electric guitar rips, vocals are stupendous. Drums are good. Fade-out feels a little more patient this time at leastā just hate this trend.
12 Really really like the lyrics on this, hook might be a little cheesey but the whole package has Allen Ginsberg vibes in a great way. Do I have to say it?ā another fade-out.
13 Dude, what? Last track with a legit reggae vibe? Gotta be pretty forward thinking for the early 70s. His voice over this works, even if the actual makeup of the instrumental feels a little goofy. Kinda pouty. Might wear thin Second half of the album def came through with more personality, still inconsistent overall
2
Apr 23 2025
Second Toughest In The Infants
Underworld
Weird album cover. Kinda reminds me of Mezzanine by Massice Attacks? Feels like that font is very of time, specific to techno and raveā while also being oddly modern in its seriflessness. Title kinda doesnāt make sense to me? But I like the sound of the word āinfantā in the context.
1 Yo okay ask me how I feel about this song after like the first 12 seconds and Iād be all like āwell the drums panned echoes really tickles my brain and I like the metric modulation but this is kinda emblematic of a techno sound I think has aged really poorly, just not enough subfrequencies so everything sounds kinda tinny and/or washed outā and then WHAM the kick and bass kick and Iām all like wow wtf how have I not heard this record before this is inSANE! Love how this builds, itās not quite as metrically advanced as it might seem because the downbeats are still hit pretty hard every 8 bars or so, but the little bits of syncopation and rut humid distance are great. The hat that comes in the right ear eventually is mixed a little too harshly, but itās balanced out by the addition of a ride in the left and a center kickā super tasteful all together. And layers just keep getting added, itās such a wild fusion of space-age 90s krautrock poeticisms and monotoned robot voice with a proper dance floor 4/4, and that synth that dances over it all YO GUITAR wow dude this track is so patient, those chords sound so good and only kick in like 4 minutes inā of course, thatās only like a fourth of the song, isnāt it? I am MAD I have never listened to this before fucking WOW. Really really like the lyrics, feel like poetry. I never understand when people call this kind of techno repetitive, it just feels like a fundamental misunderstanding of the point of layered instrumentals like this. The implication that change is music value is contrary to like all pop theory, and yet. Word to Andy Warhol. Getting pretentious, lemme get back to the music. Love how the vocalsā melodrama seems to naturally lead the instrumental correspondingly more gothic areas. Synth sound around 9:20 is fucking nasty bro, serrated af. Cacophony of percussion is auditory crack for me. Rave aesthetics are leaned into without ever feeling overdramatized or otherwise heavy-handed (subtle rave music feels like an oxymoron, but this at least treats the concept as possible lol). Ambient theory is allowed by a simple two chord pattern puts its feet up for a bit while the percussion rests. Vocals return; I had almost forgotten they had been here at all, so thoroughly immersed was I in the development of the song. Itās a track of movements, leitmotifs, and composed tones. Feels very intentional, with an immense amount of control and taste. Chip-tuned vocal sample listing colors kinda gives Board of Canada or the Orb vibes. After 16 minutes of patient development, a fade-out is very earned. Crazy good track.
2 No WAY is this dreamy LTJ Bukem-ass liquid d+b the follow up to the previous track!!! The atmosphere! Good god!! I am so mad this record has escaped my clutches until now this is so good. Water level music in a video game about hacking. The vocals really add something unique thoughā itās one thing to have this gothic, new wave sort of delivery, but such an abstract narrative is outlined perfectly by occasion bleeps and bloops, the frenetic drums, and splashes of heavily effected guitar. I want to sit in a conversation pit with this song playing. It is so gently insistent, the two chords a pendulum back and forthā tension, resolution, tension, resolution. Hypnotic, especially when other chords start being altered around the five minute mark, prompting the drums to slowly dissolve and what sounds like the sounds of a factory floor to take their place. And this acoustic guitar is. So dope! Very Beck. When the percussion re-emerges, itās more trip-hop, downtempo and crunchy. The skittering of the earlier jungle sound is now embodied by the acoustic guitar, and a really gentle pad brings it all together. Love this part, and love the vocals coming back in, great to juxtapose both sonic halves of the song with the vocals as the common denominator. With the brands and drug references I def see the comparisons to best poetry for the lyricsā theyāre good, but wish the stanza repeated for the final bit of the song had a bit more semantic umph somehow. Hrm the dissonant sine-y keys solo kinda loses me, kinda sounds like Pac-Man having acid flashbacks. It isnāt there long, though, and weāre right back to the perfect guitar/pad/drums concoction. Seriously magic. Last two minutes fuck, majorly groovy. Do feel like a fade-out wasnāt necessary, kinda cheapā but then again, kind of a cheap piece of critique on a quarter-hour song
3 Now weāve got an Air bass line over hard techno 4, really cool. God these vocals are so close and intimate, super cool. Weird vocal sample, kinda Kraftwerky? Youāll never believe thisā very cool! Iām just so interested in the choices made in instrumentation, all three songs feel like they have such unique DNAā makes for a really strong album experience. Vocals and lyrics have a bit of a post-rock feel, donāt they? More of a Scottish accent and Iād be listening to Arab Strap. Some breakbeat in snare ghost notes that dance around the 4/4 pulse. God this song is just COOL! Psychedelic as all hell. Huh kinda ends abruptlyā even some reverb woulda worked, just feels like it pauses lol. Still, great song, total journey.
4 Tsalright, like just kinda drives a groove into you. More straightforward rave, which is fineā theyāve just set such a bar for invention and experimentation, feels like this doesnāt clear it
5 Yeah baby now weāre back, percussion on this so so cool, that breakbeat feel with a pseudo half-time over crunchy synths feels so epic. Music to hack into a government computer for sure. Vocals are a little drab on this, but the song grows into itself. Felt like the brighter pad around 4:30 was important in helping the vocals click for me. Length of the first three tracks means I was kinda surprised when this so suddenly faded out, felt like it had more to give.
6 Oo fun little bouncy melody, kinda braindancey? The genre fusion is really dope, really does feel like they drew a little bit from every electronic subgenre under the sun. Ik itās rave, but woulda loved if this track stayed on the floor rather than adding an up-beat snare, because the sound really lends itself to that techno feelā itās aight though. Vocals have a bit more pitch and control than normal, which is cool. Really like āBunny girl, happy shopper / Bouncing ball, telephone dialā both in delivery and simple sonics. Very hypnotic track. Good pacing, feels like it comes to a natural conclusion.
7 Guitarās back, love the chopā nice little ambient direction, a bit like if Steve Gunn were remixed? Good color, doesnāt overstay its welcome, but both this and Rowla feel a bit like interludes to me, and thatās a little indulgent give they account for a fourth of the tracklist. Not too mad thoughā I wouldnāt skip them, so.
8 Vocals and lyrics feel more essential than ever. This oneās instrumental feels artsier than everā could be a cover of an alternate universe Pink Floyd track. Lyrics are weirder, though. I like this song, like itās genuinely good, but the first three tracks had such insane inertia that I feel the second half of this record has allowed to peter out a bit. I like the drumsā boomy crunchiness, very unique mix. Good energy. Just feel the record as a whole is a little top-heavy.
4
Apr 24 2025
Whatever
Aimee Mann
Never heard of artist or album, but love the album coverā organic and corporeal. Love the docs, love the typeface and its placement..
1 Whoa, quirky drum intro aside this is kinda country, that guitar sound rips? Her voice is really great? Somethingās weird about the mix, but havenāt decided if itās bad yet or Iām just not used to it. I think itās just a lot of moving parts panned to different places, like if each guitar in a shoegaze song was panned to a different part of the range? Hrm. Catchy hook, I like the little bopbopbops. Ooo the bridge is real fun, love the lyrics, but backups in the left ear a little too forward I think. Guitar solo goodā gotta repeat myself, guitar sound is incredible, shitās stadium ready.
2 Glockenspiel, twangy guitar, phenomenal snare sound. Like the mix a lot more on this, vocals are allowed a lot more space, and backups feel more contextually relevant.
3 āWhat a waste of gunpowder and skyā is an incredible lineā really, the lyrics and vocals are the star of the show here, really incredible stuff. Just feels like the instrumental lets it down a little bit. That aforementioned stadium feel doesnāt work as well on a track that feels meant to be guitar and vocalsā the drums are super boomy but somehow thin at the same time, and the strings could be real but they sound MIDI. Still good overall, just feel the chorus isnāt in tune with the track as a whole.
4 Twangier, and I like the sillier keybodard stuff matched with a couple of accents into falsetto. Her voice is so goddamned good! Weāre back to the mixing of the first track, and Iāve decided I donāt like itā the drums being panned so hard to the left but EQed with such a flat, choral sorta treble feels counterintuitive to each otherās intent. Like, panned to the left feels intimate (think Blue Noteā jazz trio in a small space; closeness of the audience) while the sound itself feels large and bombastic and distant. Still, this is undeniably catchy and really good, I love the compositional package.
5 First time the vocals are the biggest negative, hook sounds super flat. Bass and guitar sound good, kinda catchyā nothing super special, but good radio pop-rock.
6 Not really feeling this track, the rock ballad kinda feel is very dad-rock at a dive bar, and the hookās repetition of āYou stupid thingā is just kinda a bummer, totally tonally dissonant with what otherwise feels heroic. A fade-out is the cherry on top, no me gusta.
7 Hook is great, lower register sounds accusatory and higher register sounds distraught. The lil bridge fucks, the guitar has a great bounce, and thereās some real funky effects and keys and what not scattered about. Lots of personality on this oneof, definitely one of my faves. Also YES a solid practical ending! I totally thought I heard a fade-out coming, stoked to be wrong
8 Lil finger cymbal action and the sleigh bells really offer something hip to this. Got a bit of a folksy vibe with the anaphoric verses and general drinking song vibe. Sweet lyrics, even if I donāt fully get whatās going on. Love the Irish sound towards the end, dunno what instrument or instruments are in there (piccolo might be part of it?) but itās good.
9 Proper sequenced slowdown, then, given the tempo of this song is a little downtrodden too. Strings feel much more organic here than earlier on the album, and her voice plays off of it perfectly. Love the lyrics on this, seems a precedent for Fiona Apple and Frances Quinlain and the like. Clarinet and French horn are beautiful. Like this a lot.
10 Lil melodramatic, and feels a bit quiet? But vocals are cool, lotta little textures and inflections. Bit of Stevie Nicks. Kinda just not that memorable of a song overall.
11 lyrics are proper cheesey, and rhythmically uninteresting. Strings are pretty I guess, but itās in spite of the rest of the track.
12 I appreciate the drums backing the hell off, theyāre occasionally way to greedy on this album. This songās better for it, allows for more of the orchestral elements (woodblocks, chimes, flutes, strings and I think a bassoonā or maybe bari sax?) to come through. Her voice is beautiful, and with plenty of space to show it. Just a gorgeous, lush song. Second half of this album is inconsistent, but when it hits it hits hard.
13 Oo a little pscyhadelia, I like it. The drums being panned to the right after being leftwards everywhere else on the album does piss me off ngl, but I like the sound of this, itās cute. Lyrics are pretty unremarkable, but serviceable. Love the xylophone and piano!! Album as a whole has some real bright spots, and the whole package is buoyed by legitimately great vocal talent. Just inconsistent mix, and I do wish the instrumentals were of a more consistent makeupā feels like a collection of songs more than an album.
3
Apr 25 2025
Odelay
Beck
Oh dude hell yeah, love this album! My mom grew me up on Beck, āDevilās Haircutā was a staple on my iPod nano. Goofy cover, but in a good way.
1 Yeah just as good as I remembered. Inject these drums into my veins bro, that snare sound is incredible. Bass line and hook are catchy as hell, and I love that little beep boop electronic thing that kicks in after one of the choruses. Crunchy guitar and feedbacked vocals rip as an outro. Great fucking song.
2 This Southern cowboy slide guitar shit is so sick. He sounds more like a white guy rapping on this, tbf, and the hook is a little too abrasive to be proper catchyā but then that absolutely filthy sub-bass sawtooth drops in after the first hook, and Iām back. Beck sounds so cool once you buy in. Drums are immaculately mixed, when they get more acoustic on the chorus it pans farther the left with the higher frequencies (you can hear it the hat) and it gives them such great depth. A bit goofy, and not as good as that great first trackā def coulda grown a bit more substantially if weād gonna do 3 longer verses, as opposed to adding little four-bar layers of weird instruments. Outro is proper silly, but cool. Weirdly groovy.
3 Genre switch to such a rootin tootin folksy rock really cements the alternative flag this album flew. Beckās vocals are kind of a you like em or you donāt think, and I like them. Love how the track is mixed, good balance between the right and left, Gives Wilco vibes as a complete package here. What a silly fade-out, makes the song kinda ephemeral.
4 Dude the feedback with flute as an intro, and then the funky ass vocal melody over such incredible drums? Dust Brothers fuck bro this sound is so crystallized. Love the experimentation while still making catchy shit. Sax is dreamy. Itās so splintered, such fragmentary instrumentation, like action figures from different IPs all in the same play sceneā but it works for me.
5 Absolutely love the percussion here, but I do think the package as a whole doesnāt come together. Like he tries to sing like Beck on a track that sounds very left of Beck rhythmically speaking. Love the finger piano and weird drone thing. His lyrics are always non-sensical, but because the instrumental is also kinda non-sensical thereās a sense of confusion. God the drums that kick in after the second verse, and then the raga strings and percussion? Wish more songs used tabla it sounds so sick. Wish he committed to that stuff as more than just a bridgeā as is, feels like a really cool choice used more aesthetically than substantively.
6 Again, drums!!! Golly dude Dust Brothers just mix them bitches so well, word to the Fight Club OST. Love the sampled transitions, do not love the vocals. Way too fuzzy for how seriously heās taking them. Thereās definitely some Avalanches or The Books DNA in certain parts, I just feel Beckās choice of song form can be a little samey and uninteresting, and Iām not convinced of his rapping on this like I was on track 1. The actually chorus is pretty cool, guitar sounds dopeā I think the instrumental being as wacky and fun and cool as it is saves this song for me, because the moments it all comes together are so good.
7 Lil bit of a psychedelia kinda vibe? Really think his vocals fit that guitar tone like a glove. Lil bit of glockenspiel action is pretty as a mf, and love the harmonica that pops up later. This album is full of samples you donāt know are samples, and I think thatās a testament to the composition. Beckās lyrics are some of the strongest Iāve heard from him too, proper poetry. Really think this is gonna be one of my faves on this album. The fucking donkey on the end? Tf? Great.
8 Love the vinyl crackle at the beginning, love the keys even moreā what an absolutely filthy lil riff. The clap and sing along thing with the hook is pretty cheesey, the vocoder is the first experiment that super does not work for me on this recordā feels incredibly conspicuous. I do love the little drum breakdowns and random samples throughout, though, especially with the sax and trumpet textures. Very split on this songā on one hand, the groove is immaculate, but the execution is a little too scattered I think. Kind of an aimless jam session by the endā the fade-out fits, and not in a good way.
9 Very Jeff Rosenstock, diy punk with glockenspiel lol. Goddamn that bass tone is great. Lyrics are good, but donāt fit the songā the abstractions are fun and sonically pleasing, but the instrumental suggests the lyrics should a salient point (punk tradition) and they definitely donāt. Still liked it, itās fun.
10 A little forgettable, kinda sounds like other songs in this album but done less interestingly. I do like the dial tone thing like halfway though, weirdly cool.
11 Crackle is a little too strong on this, feels kinda performative. Feels like it doesnāt build to anything, and the bass tone is way too cleanā way too trebly, way too much in >2000 hz registers with nothing lower to balance it out
12 Goody wikiwikiwhat ass music, and the vocal filter is wwaaaaay too much. Truck driver rippity rap, and the hook sounds like Sunday school slipknot. Love the random classical music sample, dislike everything else. Second half of this album is all over the map man
13 Oh, now see I really like this. Really love the lyrics, āHand me downs / Flypaper towns / stuck together, one and allā is great in meter and substance both. Love the acoustic guitar, and love how itās panned with a slight chorusā a bit in the left, and a bit in the rightā and overall, love the sparser Americana sound. And then it builds on it all, breaks out some interesting chords (I think suspended something, if my music theory is right?) in a subtle lil bridge of sorts. Good composition. Surprised this isnāt the album closer honestly, super pleasant.
14 Well, so much for pleasant. The rhythm just isnāt interesting enough to justify a loop like this, and itās abrasive in a way ill-fit to an album with otherwise recognizable song forms. Poor choice. I dunno, I still have a nostalgic soft spot for this albumā and I really like the songs I likeā but as a package, it doesnāt quite come together. The idiosyncratic nature justifies a bit of buckshot, but not this much.
3
Apr 26 2025
Sunday At The Village Vanguard
Bill Evans Trio
Hey now weāre talking, love me some Bill Evans! Not a very memorable cover, tbh. Still excited.
1 Yeah, I mean, what is there to say? Incredible intimate and pleasant recordingā maybe a bit tinny at times with the higher pitched piano keys, but the bass is immaculately recorded, and good thing too because Scott LeFaro plays his heart out, his solo is incredible my. Both drums and bass are panned far left with piano far right, which is a bit uniqueā but I like it, really gives Evans space to roam by sidelining the drums like that. Heās just so expressive and colorful and goddamned human, man, what a pianist. I donāt really notice the drums, which is a complimentā theyāre so fully integrated into the song and very naturally placed, it allows bass and piano to be selfish. The brushwork, though, does really shine if you turn your ear to it. Just a phenomenal track. Also love Shen live albums include applause and smatterings of chitter chatter, feels so real.
2 Okay not too much chitter chatter, canāt be talking through that good of an intro! The cymbals are so glittery, the sizzle has crazy sustainā love the bass stringsā texture, and Evansās playing is captivating. Itās all so accessible and humble while still being bright and brave in small spurts, just really good stuff. Iāve come around to the chatter being a fun little ambient thing, too. Bass soloās great. Especially beautiful last couple of chords leading into the outro in that head, damn.
3 Bill wanders a bit aimlessly in this piece, and I think the sound thins out a bit too muchā especially when he gets away from chords. Still, excellent interplay between the drums and bass. Drums are centered a tad more, I think? Or maybe itās just during the bass solo on this that I noticed the pan on the drums, while still leftwards, doesnāt occupy the exact same space as the bass. Another crazy solo by LeFaro, all over the map in the best way. A cartographer, if you will. Didnāt love whatever that drum solo was towards the end. Not one of my favorites from Bill, Iām afraid, especially given the longer runtime. Makes sense then, too, that itās not one of the four tunes given another take on the second half of the record.
4 Really interested in how this song grows itself, how the piano seems to grow slowly more confident, the bass finding its footing. The cymbal sizzle is back and beautiful as before, really fills the space in this trio and allows Evans to get weirder and/or stray away from chords. Just a delightful track, feels just as magical as its namesake.
5 This head is a touch more straight ahead, has good grooveā Evans doesnāt refrain from dancing around the shuffle a bit though. Lovely stuffā I dunno what Iām gonna have to say about this record thatās new, itās just fantastic trio jazz.
6 Quiet, moody, incredible texture. I wanna be a gumshoe detective to this. I wanna tell a dame Iāll do my best to find her stolen pearl necklace, and then I want to smoke a cigarette to this. Works great as a point of rest sequentially halfway through the album, but also as a great closer if you just wanted to listen to the tracks foremost takes.
7 Dude yo I switched to by nice headphones for this, and maybe itās just the different takes but golly this sounds lush. So much rhythmic play and adventurousness
8 More of the same, love how greedy the bass is in these piano led songs lol I think he really pushes Evans to stand out and live up to his shredding lol
9 Thereās a really cool glass clink sound in the middle of thisā little moments of serendipity really make a live record like this special. I think I liked the bassās earlier solo better, but Evans does play a bit more with comping over his stuff here which is cool. Outroās a bit cheesier.
10 Itās hard to tell with the sizzle, might be making it upā but I think thereās a little white noise or something in the mix here? You can hear it at the beginning. Def prefer Take 2, just feels deeper. Still good.
Overall, just a phenomenal trio record, and a great introduction to trio jazz. The alternate takes are a little hit and miss and seem sorta extraneous, but the package is still delightfulā just the ultimate lounge music.
4
Apr 27 2025
The White Room
The KLF
Okok more 90s techno, Iām interestedā not too thrilled by the chill-out sorta aesthetic Apple Music seems to think this embodies, I think the sound has aged really poorly, but itās worth a shot. Album coverās kinda crunchy.
1 Oo nonono this has not aged well. Rhythmically unambitious, sonically dated, and the vocals are near pasticheā especially the backups, good lord. The lyrics and the space-age lounge feel has some camp appeal, but this being peers with Aphex Twinās or Autechreās early output really contextualizes this for what it is. Of course it fades out.
2 Bass is a little subbier hereā Hrm but the percussion does not feel balanced, and thereās echo panned to the right that feels clumsy. Midi sax plus that acidy squelchy synth is kinda fun, they kinda orbit around each-other in a fun wayā but Iām distracted by the major IV chords on a default space pad and the hopelessly cheesey lyrics. God those backups are poor choice. Shitty fade-out cop-out.
3 Ok the guitar is a cool piece in this intro, and I really like the synth that kicks in. Drums are a bit neater. This is sounding better! Little less dated! And now there is a man yelling in my right ear. Hm. Heās gone, and thereās a beachy psychedelic electronica track Ieffover, kinda sounds like it could be on a Donkey Kong Country soundtrack or something. (Word to Jamminā Sam Millerās remakes of those, theyāre so good.) I dunno I prefer this sample to their vocals. The guitar is particularly pleasant. Interested in this sound, hope we get less power pop disguised as club music and more this.
4 Okok the little drop from the vocals into proper techno got me. Short song, but works as a cool interlude. I can accept a fade-out given the limited run-time.
5 Yeah okay, weāre picking this shit up! Way more danceable and goth rather than the schlocky eurodance of the first two songs. Still not my thing, but at least the personality of it is less sugary cereal and more legit weird. Vocals still suck, but I like the little laser gun sound. Bassier too. Yuck okay the self-shoutout over 90s shitty pop chord before the kick blows out the speakers is horribleā but when the 4onthefloor drops back in, Iām back in. Corny vocals (and absolutely nonsensical lyrics) or not, this is dance floor ready, that bass and those phasers are real. āOver and outā is such a silly outro but at least itās not a fade out.
6 See that whistle tone sounds fucking dreadful at the beginningā I know tech was limited, but taste has to play a part, you have to recognize how artifacted that is. Clipping or not, though, I love this guitar and bass guitar sound. Oo okay vocals are way more interesting and human, less performativeā very To Those I Love. The masc vocals, I should clarify, because the fem vocals are totally drab in their ofitstimeness. Goofy little DKC synth is back for this, but the downtempo is nice. Itās whatever man, just an energy Iām not feeling. Just want a song with only the dude with the Irish (Scottish?) accent, that shitās great.
7 Slow this down by like 20 clicks and you might have an interesting trip hop song. The gibberish lyrics at the beginning are super dumb, sound like placeholders. The artsier lyrics spoken so intimately in that far right pan are cool and play well with the fem vocals. Clarinet is interesting, and the acid melody stabs have aged better than a lot on this record so far. I dunno I appreciate the weirdness I guess. Song doesnāt really go anywhere or build anything, and the nonsense syllables popping back up as the song fades out doesnāt feel cyclical as much as formulaic.
8 Good god hearing this tepid reggae fucking ballad by a bunch of white people ostensibly up their own ass with quasi-spiritual cultural colonialism (if the one size fits all lyrics over this horrid instrumental and like the general themes of the album as a whole are anything to go off of) and seeing this song is 9 fUCking minutes? No thanks. Someone else who reviewed this record on this website said this record doesnāt overstay its welcome? Youāre joking, right? Another saying Americans just donāt get itā I promise Iāve done my due diligence, Iāve listened to my Kraftwerks and Chemical Brothers. Take off the nostalgia glasses, and I feel strongly that youāll see that this hasnāt just aged poorly, it just sucks. Speaking more generallyā what in the fuck do these lyrics mean? Not just this song, anywhere? Thereās some level past abstraction, and I think itās just platitudinal.
9 NO dude you do not hear those synths and drums in the year of our lord 2025 and think thatās acceptable! This is the 90s, and Iām listening to a remaster to bootā this sounds inexcusably cheap. Vocals mean and do nothing. I like how the stabs pan between left and right, and thereās some interesting rhythmic layering, as a consequence. I feel like this is 90s electronica for listeners with no good grasp of what electronica contemporaneous to this sounded like. Iām being a prick. But also I truly do believe a good number of music nerds donāt listen to electronic music to the degree they should and so they like subpar shit like this.
10 And for the record, I recognize this as a recordā a sound, poeticallyā that can be emblematic of a time, a scene, maybe a place for the listener. But I promise this isnāt me saying āOld music badāā I just genuinely and fervently belief this is lazily executed and uninspired. The vocals on this closer track donāt make me miserable (as long as i ignore the toddler babble lyrics about deities and apple carts (word to Death Note). The random swells swooshes, and the excessive reverb, though, do. Who is this for?!?? Dadaism said shit about art. Does this least-common-denominator pop gussied up with acid and house aesthetics say anything about music? Marcel Duchamp wouldnāt chart #1 twice.
1
Apr 28 2025
Slipknot
Slipknot
Yo slipknot is on this? Thatās crazy lol. I got a weird relationship with numetal, bit of a guilty pleasure for meā freak on a leash is an all timer. Album cover is kinda stupid, but I still like the design of their masks itās gimmicky but in a cool way.
1 Not really feeling this as an intro, kinda abrasive and doesnāt come together quite right rhythmically. A skip for me.
2 ok now weāre talking, the kick is crazy on this. Bit of loud war fuzz for sure, but it kinda adds to the edgy aesthetic. It def is edgy, but like the drums rip so fucking hard and I can hear every time the bass strings hits the pickup but like a good way. Kinda overstays its welcome, feels like a long 3 and change to me.
3 Iāve heard the intro to this song before (word to StarPowerDrummer) it is so so so good. When the vocals and bass drop in proper too they speed up just a tad and I can feel my body getting twitchy wanting to be in a pit man. Like yeah the lyrics kinda suck, but itās such a full commitment that if you kinda just turn off your brain and buy in (very aided by the drums and being as insane as they are) itās really fun. Iām down.
Listened to the rest of this at work, so just short thoughts for the rest because I wasnāt writing while listening:
4 Feels the most radio ready slipknot is gonna get, and so kinda tame. Not a whole lotta punch or distinctiveness. Good length though and the vocals and breakdown at the end are good
5 This feedback thing is kinda what the first track tired to doā still doesnāt work. Fucking love the percussion though, the clanks are great lol. Lyrics are a bit of a tantrum, but Iām kind of always down for a fuck the man song. Again, what makes the vocals work is that they fully buy inā thereās no wink or nudge or joke to get, heās just mad. Last 40 seconds or so rip
6 Guitar sounds a little flat on this one. The rap and scratches are fun but kinda shit lol
7 Slow build on this, I like the patience and the payoffā still donāt like the feedback though.
8 Wish the kick was given more bass in the mix. Trash can cymbal is back, love it. Hook vocals are a little corny
9 āLiberate my madnessā kinda doesnāt mean shit, does it? Like that doesnāt really make sense? This is the first song that really starts to see this record feel kinda bloated, nothing here to remember besides a cool lil bit of metric modulation with the 3 over 4 riff over drums. Still good vocals, still technically good, just nothing new.
10 This song is kinda gross man. I think the my parents are divorcing and Iām angry at the world music only works if youāre angry at the world, not at a specific entityā otherwise it just feels like a kid throwing a tantrum. The fact this entity seems to be a potential romantic partner just makes this track feel super rapey.
11 Zack de la Rocha woulda done this song better, but itās still alright. Their drummer is so fucking good
12 Kick is way too small and clicky on this song, bugs tf outta meā feels like such an obvious thing to fuck up. I like the vocal layers
13 The rapping on this is not good, which sucks cos I like the bass and turntable stuff on this. Cutttime on chorus is good too. This is def what seventh graders play before getting in a fight on a blacktop though lol. Ugh but the drums are so GOOD. But no, doesnāt work as a whole. Same trouble as track 10.
14 I can appreciate what theyāre trying to do, but ~8 minutes on the 14th track of an album otherwise pretty quick and dirty is a big ask, and it just doesnāt have
a cinematic quality I buy into. Commitment canāt overcome stale instrumentation and form.
15 Blastbeat rips, lyrics are braindead in the best way, decent closer.
Lookā if you buy in, thereās stuff to like here. I think being angry at everything and everyone is, whether we like to admit it or not, a very human emotion. Consequently, I donāt really buy the idea that numetal aged poorly as a larger concept or form? But the sound and aesthetics themselves fray at the edges, and the albumās cutting floor couldāve been a little more cluttered.
2
Apr 29 2025
Parachutes
Coldplay
Honestly, going in to this a bit biases because Iām not a huge fan of Coldplayās sound. Feels very crafted and careful in a way I think is boring. Trying to keep an open mind. Cover kinda sucks though, like the typeface is a little self-serious and the moon is whatever, doesnāt really connect with the title. Letās go:
1 yeah okay, this is a great album opener! The acoustic is a nice foundation, the lyrics are hopeful while not being too cornyā I esp like the āYeah they doā moments, good personalityā and it doesnāt try to be all that and a bag of crisps.
2 Lyrics are a little heavy-handed on this, but damn if the vocals themselves arenāt full of talentā that falsetto is immediately impressive. Drums on this are great, weird lil shuffle feelā gives the song something. To hang its hand on. I donāt think itās blowing me away, but itās solid and better than I thought it was gonna be so far, especially given itās a debut. I can totally hear myself hearing this in 2000 and being like damn, these guys got somethingā Iām just jaded by the 2025 Coldplay lol. This track probably goes a bit long, but last chorus has good energy so Iāll allow it.
3 I really like how each of these first three tracks really feel like their own thing, yet still cohesive. Gotta be the vocals that keep them intertwined, he has a really distinct voice that gives the instrumentals flexibility behind him. Not fucking with the lyrics, the vagueness of the titular āSpiesā and what theyāre metaphor for is pretty uninteresting to me. Still a good listen, the drums are really colorful (common theme so far) Andy he guitar is pleasant. The engineering of this record is top notch, btw, the levels are immaculateā havenāt even thought about it because thereās nothing to notice.
4 Oh dude, this song! I really really like this song! He has a bit more fry on the vocals that build to his hooks really well, gives some really emotional weight. The drums are really pleasant and patient, the riff as complimented by bass and piano touches is frankly beautiful, and his chorusā falsetto is just arresting. If I were to nitpick, Iād say it could be a couple clicks slower? Damn, the acoustic guitar is so well miked, itās so bright and dynamic. Some real interesting chords in the second verse. I latch on to āsparksā I found harder to do with āspies.ā Like the outro, fits well. Just a top, top notch track.
5 Oh dude why do the drums sound like that? The snare sounds super out of tune or something or just sewed wrong. Uh canāt really say much about this song, the lyrics and vocal performance are phenomenal, and the instrumental around those is a good vessel to carry them in. I think the hookās subtle layering of vocals and the bass being a bit high in the mix is my favorite part, and when everything cuts out for āyou know I love you so,ā itās really perfect. God yeah Iām trying to see this song through the eyes of like a Y2K alternative music fan, and like, yeah itās poppy, radio ready, all thatā but itās also just a complete song (besides the snare inexplicably sounding like hotdog water). Canāt really argue with the legacy too, it still gets play.
6 Yeah man Chris Martin is just a really good singer huh? Piano and bass layer really well on this, acoustic guitar takes more of a backseat which is think is due, so good choice/sequencing. Love the bits about the āspider web,ā and love every time he says ātrouble.ā Lil bridge seemed kinda pointless. Woulda liked to see the melody evolve somehow, not every song can rely on new vocals to heighten the tone.
7 title track being a sub-min solo singer-songwriter track is a cool choiceā problem is, I think this is his work vocal performance so far. The song feels like a fragment more than an interlude or the like/- which, since this record is 10 songs clocking around 40 minutes,ā feels like a waste of time, gotta make those 10 count more than this one dude.
8 not sure I feel about this oneā vocals are unusually forgettable and the lyrics are a little tepid, but the hook is nice and I stick with the song. Just gotta reiterate how phenomenally mixed and mastered this album is, besides the snare in Yellow I have zero complaints and I am a picky motherfucker. Coulda built to something, but kinda didnātā which works with the songs that assert themselves.
9 This one skew towards wholly forgettable. Bridge feels a bit more substantial, but the verses and chorus donāt have the same personality as previous tracksā which matters on a 10 song album. Iād chalk this up to a debut album kinda thing
10 Donāt really feel like the piano-led ballad sound plays to Martinās vocal strengthsā I think his powered in his ability to rise above the instrumental around him, but his performance feels a little exposed without that context (esp at such low registers). Honestly the development of this is really nice, I like what it grows intoā until the last minute-thirty or so of outro. I really like the lyrics and the stripped down aesthetic of that last bit, but think Iād prefer that bit excised from the five minute song itās tacked onto and developed into something a little more complete. Feels too disparate.
Iād say on the whole I really enjoyed this listen, and while I thought there were parts that were outshined by the moments of true excellence, itās a seriously impressive debut record.
3
Apr 30 2025
Unhalfbricking
Fairport Convention
Never heard of the band much less the album. Kinda weird album cover, but I think itās a good weird lol. Just gonna cover the og eight tracks.
1 This is really really well recorded and mixed, great balance thatās really allowed to flourish at higher volumes. The bass is punchy, the violin is beautifully distant (if a reedy), drums are dynamic and the guitar is just perfect. Surprisingly modern take on this folk sound given the run time, and so can live within pop form while still sounding super authentic and powerfully folksyābecause boy howdy does it. I could listen to another 8 minutes of this for sure, feels so deep. Drummer plays with real emotion, with just a perfect balance of comping and the occasional indulgenceā itās super human drumming. Guitar is great. Absolutely LOVE that they do not fade-out at the end and end the song proper, itās beautiful and bucks that awful trend that was everywhere at the time. Respectful to folk tradition in doing so.
2 Oh god fuck yes this is incredible. Just beautiful. Getting emotional in public rn listening to humans enjoy the music theyāre making. Love the ambienceā laughs and āyeahs,ā what sounds like glass breaking?ā the accordion and triangle are charming to an absurd degree. When I tell you I was so entranced that I didnāt realize the song was in French until the second listen? I will listen to this song for the rest of my life.
3 Whoa that 5 is really cool, feels super organic. Drums and guitar and bass all sound just perfect together when it becomes 4. I have not said enough about her voice the past couple of songs, good god is it hauntingly beautiful. She has incredible control. Fantastic guitar solo. Another great song.
4 Really patient, and builds the balance folk and rock really well. Feels like the fiddle and guitar are dueling, one in each earā the vocals are commentating on their match and the drums and bass are the arena. Particularly love the toms on this track, and when the vocals dip out in favor of another honkier tonkier guitar, itās just a rock reverie man. Fugue state stuff. Great track.
5 Hm okay first track Iām a bit split on, the accordion sounds super hokey and weird over this blues kinda sound and the drums are mixed way too high. Mix in general is just super busy actually. To be fair, Iām just a bit of a blues hater, but. Very short song too. Iād skip this in future listens of the record.
6 Simply beautiful. All parts are good and catchy and well done. Most radio ready but in a good way.
7 Sitar on this is dope af. Really like the vocal rhythms on this.
8 This is a fun lil romp, love the mandolin kinda sound. Lyrics are super fun, and the masc vocals are a cool lil thang to end the project on.
Just great great folk rock, shorter so the fifth track being a bit of a dud is a bummer but some really really stellar stuff besides.
4
May 01 2025
Infected
The The
Incredible band name, incredible cover. Excited for this one.
1 HMPH dude bass line goes hard af and the drum beat is insane, that snare sound? And all the percussion stuff? Immense amount of personality in lyrics, and everything is super big and bright in the EQ.
2 Great story telling, and super great inflections. The instrumental really compliments the tones, and even provides diegesis like when the sirens turn into synths. Way weirder than most music that sounds like this, which I think is cool. Goddamn that snare sound is crazy lol. Fade out works for me here
3 omfg the vocals and lyrics have so much BITE and that piano?!? Great bass line, and continued perfectly 80s drumkit. The backup vocals could be so schlocky but theyāre pitch perfect. Harmonica and strings could not work with this song like they do, but itās all so cinematicā feels like a track from a musical in a good way. LOVE this song.
4 Counterculture has never been so catchy! Or something, lol. Love the choice to strip the drums out of the verses, the congas and string bass are dreamy and it all gives the vocalist a lot of space to work with. I dunno man I could see these lyrics being read as corny, but I think itās kinda campy in a Susan Sontag sorta way. Sincere, yano? And Iām down to buy in. Def some og theatercore music though lol
5 This is a really sudden drop in quality. Vocals are super aimless and inessential, the spareness of the instrumental gives you way too much time to sit with how each snare sounds exactly the same and equally loud, and simple but effective bassline is not nearly catchy enough to make up for a lack of important melody. The percussion stuff is fun but kinda extra.
6 Thereās a lot less INXS and New Order in these last couple of tracks and a lot more proper post-rock/punk. Some parts work, like the bari sax is good on this and the bass an effects are really fun, but it feels like the vocals are just pretending to have fun now, and the blown out rimshots really wear on the ears. Donāt fully buy in to this duet kinda thing either. Fades out to avoid have to create an ending.
7 This bizarro broadway is grating as hell. What a bummer of a cliff dive from the earlier songs that I legit enjoyed. The lyrics have cratered to, the social commentary was at worst vague but at least it was pointed and seemingly passionateā this is just nonsensical and noncommittal to boot.
8 Bit of a return to form in terms of energy that ends up dragging way too long, diluting the success. The outroās stupid too.
Damn, lotta promise, Iām s sucker for this kinda sceneās soundā but I feel confident in saying this just isnāt a complete package, and the punker aesthetics are diluted.
2