#: Album Reviews

[surrealisticduvet]

Album Review: Infinite Rider on the Big Dogma (1979)

What is it? 

Infinite Rider… on the Big… Dogma.

What?

With this album, I decided to go with the “write as you re-listen” method of reviewing, since I knew I had so much to say about many of the songs individually. I hope this is as half as enjoyable to read as it was to write. As always, please let me know if you have any comments or dissenting opinions, I would love to hear them!

Without further, or really any, ado, we have “Dance”, a frivolously thrilling and unusual new style from our Michael. I am always a little shocked by its usage here as an opener, so used to it being the outro to Elephant Parts, in which many Infinite Rider songs feature. The instrumentation is rich and complex, in stark contrast to the lyrics –  “All I wanna do is dance and have a good time”. In some ways it leaves you confused as to why this wasn’t a big radio hit - is it the way he sings it, almost ironic in its empty-headedness? Is it just his bad luck? The song is too short to let you ponder for long. 

Next, we have “Magic” – my main gripe with this song, unfortunately not a bug but a feature, is the kitschy way he sings some of the high notes (we know for a fact he can hit them without so much falsetto fanfare) but it does add to the subtle irony of the song. Hidden underneath that facade, buried in the full, sustained notes of the chorus, is his true capacity. This song has a bit of a festive undertone with the bells lightly jingling, adding to the feeling of, genuinely, magic. Once again, this song is expertly produced, musically (aside from the background vocals “do-do-dooing” which I think is sometimes overkill) - there are a lot of layers which prevent it from sounding like a cheap holiday commercial.

I completely stand by the belief that “Flying” is an Eagles parody. Listen to this, and then listen to something like “One of These Nights.” I maintain also that this song is at least a parody of something, with lyrics that are deceptively genuine at first before dipping into deep unseriousness, all sung as straight-faced as ever. The middle eight here is again just exquisite. I wish there was an instrumental of this track particularly, although his vocals are so good that I wouldn’t push too hard for it. This song sounds like it ought to be played to a packed arena, something almost on the same level, musically, as “Comfortably Numb.” As the song fades out, you get a bit of a better listen to the drum and rhythm section, which has a unique stylistic blend and flare that, once again, adds depth to what otherwise might be called a boring album. (Misguided Rateyourmusic users have called it his “most accessible” album [read: contemporary, standard-issue, basic! – more on this at the end] but I disagree, at the risk of sounding pretentious… Infinite Rider is a complex and borderline experimental album; it just so happened that he was experimenting with things that happened to be in popular music at the time.)

Much like taking songs from The Prison out of their context as a soundtrack in order to review them musically, it is critical to take “Tonite” out of the context of Elephant Parts, in which it is evergreen in its evocation of the special as a whole – they were literally made for each other. The lyrics are weird, for Michael - on a first listen, you’ll be a little put off by them, until you get to the bridge and chorus, which swings back to the sort of strangeness that you’re used to, and now the old Hollywood oddness from the beginning starts to make a little sense. Three for three, these songs have so much going on musically that you never have a chance to be bored or question his intentions. There’s expert use of a piano/synth solo here which in some ways really dates the album as being from the late 70s/early 80s but that’s what I like so no complaints here. As the song ramps up towards the end (nearly unrecognizable from the moderately paced introductory verse) Michael slips into a rougher tone and drives the whole thing home. Careful listeners will catch the “I’m still inside of a little glass tube - I’m still inside of this room” as it fades out; a tasteful callback to the final scene of Head (1968), or just a bit of before-its-time commentary on the effect of fame on an individual’s psyche? Infinite Rider gives you no time at all to chew and swallow thoughtfully - the next song is already upon us.

“Carioca” is the first and only real reprieve you’ll get on this album, and it is still a wonderful song. Much like “Rio,” this song is inspired by what we can assume to be Michael’s fond memories of seeing Fred Astaire and Ginger Rogers in Flying Down to Rio (1933). His ability to belt out a chorus shines here, supported by pleasant instrumentation. Take a breath while you can, because up next we have…

… “Cruisin’”. If you’ve heard any song from this album already, it’s probably this – and you’ve probably seen a little bit of the music video from Elephant Parts, too. The verses are low-key and casual, and the whole thing reeks of sun-tan oil and hot tarmac. Whether or not you consider this to be Michael’s coming-out party, it’s still a compelling song much in the style of something like the Traveling Wilbury’s “Tweeter and the Monkey Man.” On its own, the song is fairly middle-of-the-road; it’s the music video that really makes it pop, with visual cues lining up perfectly to the song and Michael’s own performance of it (in those sunglasses...) 

From “Cruisin’” we dive straight into “Factions,” perhaps more memorably titled in early versions as “The Daughter of Rock n' Roll.” He didn’t invent anything new with the song, but definitely proved that he could keep up with the times, musically. The things he does with his voice here are almost foreign, a tone and gravel that we’ve never heard from him before. The song itself is good, with clever lyrics and an interesting story, a classic Nesmithian take on the contemporary “rock ‘n’ roll song about rock ‘n’ roll.” It’s not at the top of the album for me, but any song that effectively uses and rhymes the word “Boogie” gets a free pass for me. 

Take another deep breath at the end of this one, because you’re about to experience what is possibly, maybe probably, my favorite song of his ever: “Light.” Immediately, he has dropped the ironic and performative vocal quirks, and is once again singing in his own sweet tenor, with just a few humorous dips to keep you guessing. This song effortlessly blends bleating saxophone solos with laid-back steely drum meanderings, quivering organ overtones, and a sturdy, pulsing bassline. The lyrics are simple, yet powerful – “but the light from the window is the brightest of all” among others. I find it interesting that the song is called not “lights” plural, but “Light,” singular, implying that these eclectic lights are all interconnected, blending together from and into one infinite form. Once you have seen the music video for this, you’ll never listen to the song without its dancer flashing and jumping through your mind, it’s truly mesmerizing and at times otherworldly – again, the visions of the dancer and Michael are melded together by the use of mirrors and cutaways to create a mind bending effect. “Light” clocks in at 3:21 and feels even shorter; it ends almost abruptly, with the sax trailing off. I usually have to listen to it at least a second time to really let it sink in. 

One Tumblr user has in the past posited that we should “kill Horserace and replace it with a second Light” (Surrealisticduvet, 2024), and I wholeheartedly agree with that sentiment. Much like “The Other Room” is on From a Radio Engine to the Photon Wing, “Horserace”’s placement here is jarring, uncouth, and downright disrespectful to the rest of the album. Okay – now that I’ve gotten all that out of my system, let me explain why it just doesn’t work for me. While many songs on Infinite Rider have lyrics that are tongue-in-cheek, parodical, and dare I say intentionally silly, “Horserace” feels to me almost sloppy. Many words are rhymed with each other in such a way that it doesn’t feel intentional, meaning that by default it sounds amateurish. Michael here utilizes the same growl that he does on “Factions” and to some extent “Dance,” but it overpowers the track to the point where I had a hard time focusing on the music. (When I managed to, I confirmed to myself that it wasn’t as intricately crafted as any of the first 7 songs, and certainly not the last one we just listened to.) I’ve always said that even Michael’s worst songs are still worth listening to; such is not the case with “Horserace.” Listen to “Light” a second time and then hit that skip button.

“Capsule” is another one of those songs that Michael co-wrote with a few other people, and it is, dare I say, obvious. I like what he was trying to do, and the song sounds interesting, with a cool, jazzy swing. I don’t think it’s among his best work, either vocally or lyrically, and it’s a bit of a disappointing closer to an otherwise fast-paced and densely enjoyable album. 

I have to give a little shout out to the album’s outtakes, which I actually didn’t even know about until very recently. “Rollin’” is a real foot-tapper that takes his old song “Roll With the Flow” and revamps it in late-70’s radio-rock fashion with a “Mama Rocker”-style piano breakdown that sweeps up and down the keys. The whole song is pretty simple, but fun and effective, and I really like it. “Walkin’ in the Sand” is an interesting track, a true outtake in the sense that it breaks free from the one-word-title constraint he set for himself on this album. It’s like nothing I’ve ever heard from him, ramping up his affinity for minor-keys to a new level, with a glaring bass riff like something from the Arctic Monkeys (sorry, I can’t think of a more period-appropriate comparison). I’d be curious about what he could do in this style if given a whole album to play with – but if all we ever got was this one song, I’m still thrilled. 

Conclusion:

I think Infinite Rider, despite being perhaps more well-known during its time than his other albums, is largely misunderstood. (To be fair, you have to have a very high IQ to enjoy his… oh, god, listen to me.) Some reviews call it his most accessible album, and laud his return into the sphere of pop music. I have a hard time explicitly agreeing with these assertions; I don’t think the album’s true intentions are as wholesome, simplistic, and popularity-seeking as some may claim. Much like The Prison was written as a soundtrack, Infinite Rider was written as a “video album” – to listen to “Magic” or “Cruisin’” on their own, without the music video, is to experience only half of the song. Even tracks which were not released with a visual component, I would argue, must still be considered within this context.

Critics also say that this album was overproduced and that there’s too much going on, instrumentally; this is just a difference of taste – I like an album you can listen to half a dozen times over and still hear something new. One amateur reviewer (my peer, I suppose) said that they appreciated the album since, despite its tongue-twisting title, it was easy to enjoy without having to crawl into Nesmith’s head to “get” it. Well, I guess I can’t argue with that – Infinite Rider’s appeal lies in the fact that to the casual listener, it is a good rock ‘n’ rollin’ time that ends after 38 minutes and 15 seconds; for anyone with enough time on their hands to dig a little deeper, rest assured that Michael will not disappoint.

[sharktunes]

Album Review: AM by Arctic Monkeys

Released in 2013, AM marked a turning point in Arctic Monkeys' journey, showcasing their growth from scrappy indie rockers to a band capable of delivering sultry, masterpieces. This album wasn't just a commercial success, it cemented the band's legacy as one of the defining acts of the 21st century. With its sleek production and emotionally charged lyrics, AM continues to captivate listeners over a decade later. Let's dive into what makes this album so remarkable.

AM is the fifth studio album by English rock band Arctic Monkeys. It was produced by longtime collaborator James Ford and co-produced by Ross Orton at Sage & Sound Recording in Los Angeles and Rancho De La Luna in Joshua Tree, California, and released on 9 September 2013 through Domino Recording Company.

Here's the track list for the AM album:

Do I Wanna Know?

R U Mine?

One for the Road

Arabella

I Want It All

No. 1 Party Anthem

Mad Sounds

Fireside

Why'd You Only Call Me When You're High?

Snap Out of It

Knee Socks

I Wanna Be Yours

My all time favorites in this album:

"Why'd You Only Call Me When You're High?" It explores the themes of desires, loneliness, and late night vulnerability, which made me magnetized to it.

"R U Mine?" is an electrifying experience! It's fiery guitar riffs and raw energy ignites a fire inside me when I listen to it.

"Do I Wanna Know?" This track laced with such emotions, it also captures the themes of vulnerability, desire, and obsession. It gives me a soothing feeling whenever I listen to it, the beats, lyrics, and tune are very well made.

Give it a listen to yourself, maybe you'll love it like I do. If you haven't dived into AM yet, there's no better time than now! Come and join me in this amazing album. AM is not just a collection of songs, it's an experience.

-HazZel

[vinyl-connection]

BRYTER WITH CLOUDS

Nick Drake had precious little success during his brief lifetime. None of his three albums reached the wider audience he hoped for and his descent into depression made isolation his preferred state. Drake did not perform his music live, had acquaintances rather than friends, made little conversation and had no intimacy other than a tortured communion with his own mind. So how is it that his…

[o-the-mts]

Albums of the Month: Challengers (Original Score) by Trent Reznor and Atticus Ross

This week I will be checking out five albums I missed from 2024. Album: Challengers (Original Score) Artist: Trent Reznor and Atticus Ross Release Date: April 26, 2024 Label: Milan Favorite Tracks: Yeah x 10 L’oeuf Brutalizer Thoughts: Trent Reznor and Atticus Ross of Nine Inch Nails have been scoring films together since 2010, and their composition here for the sexy tennis throuple film…

[f-ngrl]

what i actually wanted to talk about:

yln foreign released an ep called "#BIGYMOVEMENT" a while ago! and it's really nice and solid. a bit basic but i love basic trap so. fav song: i'm god sent; i like its hook. the only sad part is that it's short; 5 short songs. youtube link

roh yun ha and cherry boy 17 also released an album ("경리단 blockas") and i strongly recommend. 6 songs, 17 min, no features. this is what a collaboration sounds like! the way they switch mid-verse so flawlessly is super nice and makes regular collabs look artificial. you can tell they're really close. the synergy is amazing. the styles of the songs are also varied, like both of them bring their own styles into the thing and sometimes one dominates, sometimes the other. i can't find the full album, only single songs on yt. i can't even name a fav, they songs are all great! here's CU, the calm outro song.

some other ppl also released albums but i'm only listening to fleeky abng's akuma and kitsyojii's fly besides these two. still a lot of new music is not that exciting but i'm happy about these few songs! ^_^

[eseomo]

Time travelers inc. 🔗

[thats-the-teen-spirit]

My Top 10 Albums of 2024

In this year i'm going to do something new, I'm not gonna rank the albums. This will include honorable mentions and EPs by the end so prepare for a long post

Green Day - Saviors

The year started with one of my favorite punk rock bands of all time dropping an album that I already consider a classic. It seems like every time the American political landscape is looking grim, Bille Joe, Mike and Tré release something cool to make our life a little bit more bearable. This album however is not perfect, there are some hits and misses here and there but nevertheless it's a really solid Green Day record.

Favorites: The American Dream is Killing Me, Dilemma, Suzie Chapstick, Strange Days are Here to Stay

Twenty One Pilots - Clancy

As someone who completely missed the SAI era of Twenty One Pilots, I was very pleasantly surprised when I listened to the singles for the first time. I mentally checked out from them after COVID happened but when Overcompensate dropped I felt like I need to check out the rest, and damn right I did. This record is more or less an homage to Trench, their most well-loved album by far. Many lovable singles and non-singles from two lovable dudes.

Favorites: Overcompensate, Next Semester, Routines in the Night, The Craving

Knocked Loose - You Won't Go Before You're Supposed To

Yeah I know, I used to hate on this band. Or I mean, hate is not the best word, more like I was indifferent when it comes to their music. But this year undoubtedly was one of their best and most successful one. This record is the definition of being pissed off. It's angry, pissed off at society, people, own thoughts, everything. The eery clean guitars, the hardcore breakdowns and the most pissed vocals ever recorded by man are all the reasons why this band is an acquired taste, but I finally found them like I would've found a religion.

Favorites: Don't Reach For Me, Suffocate, Slaughterhouse pt2, Blinding Faith

Imminence - The Black

The best metalcore record of the year, straight up. It's pissed but it's very artistic and mellow at the same time making this whole album sound like a mix between European death metal and symphonic metal at times and American modern metalcore. The Black is amazing, I can only talk about it in superlatives, it's so good. The range from the sad and melancholic songs to the most heavy blast beats is insane and once again the swedish boys (especially Eddie) proved to be one of the most innovative bands of the scene right now.

Favorites: Come Hell or High Water, Heaven Shall Burn, Desolation, Death by A Thousand Cuts

Sum 41 - Heaven :x: Hell

This is gonna be probably the most unpopular opinion on this list but I love this record. I love both the Heaven and the Hell side equally, they both sound nostalgic but not too obviously ripping off old songs, Deryck still got it when it comes to the vocal performances, in some songs he still sounds like he did when they recorded All Killer, No Filler. I'm glad they are able to go out on their own terms, without backstabbing and cancellations, after almost 30 years of putting out bangers, they absolutely deserve the retirement.

Favorites: Waiting On A Twist Of Faith, Landmines, Dopamine, How the End Begins

Bring Me The Horizon: POST HUMAN - NeX GEn

Well, at the start of the year I didn't expect to have it but in May after a surprise drop, we got one of the most anticipated records of the past few years. After the end of the last year when the band announced Jordan's departure I was really bummed out and thought the album will never be ready. Multiple delays, preorder cancellations, and a fuckton of singles later, it was here. Oli clearly had a vision by involving all of the band again just like in the old days and the result was this j-metal inspired concoction that uncovers mental health issues unapologetically uncensored. Probably my favorite record of the year.

Favorites: Top 10 Statues That Cried Blood, n/A, LosT, Dig It

Billie Eilish - HIT ME HARD AND SOFT

My go-to chill record of the year. It has immaculate vibes, chill production and the usual soft vocals by Billie. She (and her brother, Finneas) brought the chillest pop album of this year for me. I caught myself turning it up during home office and getting Birds Of A Feather stuck in my head for days. Especially the theremin part at the end that sounds like MGMT's Time To Pretend.

Favorites: Lunch, L'amour de ma vie, Birds Of A Feather, Chihiro

Bilmuri - American Motor Sports (420CC Edition)

Time to go crank the hog. Bilmuri (Johnny Frank's post-Attack Attack solo band) has put themselves out by mixing metalcore and country the most random yet still fitting ways, It's the catchiest and most fun record I've heard this year and honestly I cannot even bring up any band that do it the same way as Johnny and the boys do (maybe with the exception of Electric Callboy).

Favorites: The End, Better Hell (Thicc Boi), Boutta Cachew, Blindsided

Poppy - Negative Spaces

I've been loosely following Poppy since her unhinged youtube video days when I thought, maybe she was gonna end up being a basic e-girl and give up this super uncomfortable persona. Well, years later I got what was completely unexpected back then: an album that is completely herself, no persona, no hiding just her and her band making music she likes. Poppy is one of those artists that can do anything from bubblegum girlie pop (crystallized), to borderline black metal blastbeats (they're all around us) and Knocked Loose-like beatdown hardcore (the center's falling out). Amazingly creative work produced by the one and only Jordan Fish, whose work is obvious on the record.

Favorites: they're all around us, the cost of giving up, vital, push go

Linkin Park - From Zero

If you want a longer review of this record, check it out from one of my latest posts. To make it short: LINKIN PARK ARE BACK. Emily, the new singer is a really talented vocalist who gave new life to the band. The band made conscious decisions to feel like it's still Linkin Park we're talking about and not some Dead Sara-copy. Mike's production on the whole album screams older eras of LP, and proves that you can come back From Zero even after decades of carrier and following a tragedy.

Favorites: Two Faced, Heavy Is The Crown, Good Things Go, Over Each Other

Honorable mentions:

Ankor - Shoganai

Nightwish - Yesterwynde

AWS - Innen Szép Nyerni

Boundaries - Death is A Little More

Darko US- Starfire

thrown - EXCESSIVE GUILT

Kublai Khan - Exhibition of Prowess

Like Moths To Flames - The Cycles of Trying to Cope

Favorite EPs:

Counterparts - Heaven Let Them Die

Bad Omens - CONCRETE JUNGLE [THE OST] (technically not an EP but still)

The Plot In You - Vol 1. - Vol. 4

Nik Nocturnal - PANIK

[todays-just-a-daydream]

October 1995 | Select Magazine reviews (What's the Story) Morning Glory? and Noel Gallagher goes through the album track by track

[canadianstud]

LED ZEPPELIN ALBUMS TIER LIST RANKING

[married-2-the-music]

The Best K-pop Albums: 4th Generation

A darker era in the timeline, defined by trap, EDM, and so-called “girl crush”. Boy group heavy; both a time of idols having more creative control and an inspiration from genres around the world. Stray Kids, (G)I-DLE, TXT, and ATEEZ. All Generations

Simply put, the most cohesive, most unique, and most moving EPs and LPs from the industry, across all genres. This list will hopefully grow a lot longer as I continue doing my reviews.

(For all best albums, click here)(For Gen #4 Classics, click here)

[patricksmusicblog]

2024 Album Ratings(So Far)

Some summeries, reviews and thoughts I've had about some of the albums I've listened to this year so far.

Elcamino & Black Soprano Family - Here Ya Go: This is the latest project from El Camino a Griselda affiliate. This is the first project I'm listening to from him from front to back. It's soulful, dark, and gloomy as Buffalo and Griselda's projects tend to be. El Camino sounds closest to Westside Gunn so much so it can be easy to confuse the two one big distinction is that Westside is more freewheeling and has more range with vocals El Camino is a bit more reigned in and measured with his flow. This project is emotive with tracks dedicated to the late DJ Shay and the late legend Kobe Bryant. It's solid and probably would've been better had the songs not been short. 7.5/10

Benny The Butcher-Everybody Can't Go: This is Benny The Butcher's fourth studio album and major label debut(Def Jam). The album is largely produced by Alchemist and Hit-Boy two of the best producers of this decade. Everybody Can't Go I'd say is while still being true to who Benny is and that Griselda sound is more in line with what we got on Burdon of Proof Benny doing his thing next to legends and superstars etc I love the menacing and descriptive opener in Jermaine's Gradution. Also, love the triumphant banger that is "Bron". "Big Dog" finds Benny Holding his own next to Wayne. "TMVTL" Speaks to issues that come with dealing with people in the streets. "Pillow Talk and Slander" ft Jadakiss is similar in that it speaks to not surrounding yourself with the wrong people. "Griselda Express" is quintessential Griselda Benny's on it, Conway's on it, Westside's on it. With Benny and Conway coming with stand-out verses. There were times on the album when I thought songs could've been more fleshed out, and times when I thought hooks might be teetering on clunky like One Foot In..but these are small grips on what I think is a great project. 8/10

Schoolboy Q-Blue Lips: Blue Lips is the 6th studio LP from TDE veteran Schoolboy Q. Schoolboy's always been my second favorite out of TDE, with great projects such as Oxymoron and Blank Face. This album is interesting in that it's probably Q's most experimental album made with different sounds whether it'd be delicate piano chords or guitars, there are beat switches and flow switches. While I think this album has some instantly enjoyable sounds and songs, I don't believe this is an immediate album, this is more of a grower than a shower. It's an album that'll reward with more listens. It's gangsta, but introspective fit for the new era and old. You have earworms like "Yeern" but you have the Alchemist-assisted "Lost Times" and the avant-garde banger "Thank God 4 Me". "Blueslides" is beautiful. Then you have traditional hip-hop in with "oHio" ft Freddie Gibbs and Foux ft Ab-Soul. There's a little something for multiple types of Hip-Hop heads on here. A great LP 8.5/10

Tierra Whack-World Wide Whack: Tierra Whack first burst onto the scene in 2018 with her eccentric and creative style with Whack World. A short project with many short songs displaying different skills from rapping to singing all one minute long. Here we get that same bundle of charisma coming through on World Wide Whack. Tierra's command of rhythm and flow is to be commended she can get on any beat and never be out of pocket or range. "Chanel Pit" is a great example she has a great way of finding pockets in the beat and wraps her vocals around it whether singing or rapping without ever sounding off. "Difficult" is not only one of the sadder songs on the project but also shows her vocal range from normal and downtrodden to hurt and delicate. "Living is Difficult" is a relatable line. "Shower Song" is unbelievably funky as she speaks to the freedom of singing in the shower. Themeatically this album is really about growing pains and the mental challenge of going through those going through those growing pains in front of the public. "Two Night" and "27 Club" respectively are the two most important tracks on the album as she speaks to contemplating suicide and the dark feelings coming from that. While there's fun to be had on this album and as elastic as her style is there are a lot of relatable and grounding moments on this effort. Also for those looking for some straightforward rap, "Snake Eyes" is the track it's a gritty banger. Great project. 8/10

Future & Metro Boomin- We Don't Trust You: Future and Metro released one of their best projects since the mid-2010s. This for me is up there with the Beast modes, Monsters, 56 Nights, DS2, etc. Metro's beats are bigger more cathedral and lush. Future's flows and vocals are fluid, and his confidence and swagger are amazing on record. Themematically the album is about being the best and not trusting or rocking with Drake. Kendrick adds to this with his scene-stealing verse on "Like That" where he disses Drake and takes jabs at J. Cole. If you're a Future fan this album is a nice project that shows Future doing what he's always been great at while still challenging himself production-wise. 8/10

Roc Marciano-Marciology: Roc Marciano returns with his 11th studio LP. The God Father of Griselda's style if you like drumless airy atmospheric but dark beats Roc is right up your alley. Possessing a fly & menacing aura, an aged street weariness, and a seen it all done it-all demeanor, you'll never ever hear Roc phased, out of place or, out of pocket. He's always in pocket or making the beat fit his pocket. He has a measured but intricate flow that can be quietly technical at times. At his best there can be something mesmerizing about how calm and surgically he can ride a beat, sound cool, and, make everyone else sound like a lame. It's great. The production here is quality, with dark off-kilter piano keys at times, lush strings at others, and a soulful bluesy at others all of it having a dark undertone. All the features are great and add a good deal to the sound and cohesion of the project. I think it's another great piece to add to Roc Marciano's already great catalog. 8/10

J. Cole- Might Delete Later: Might Delete Later is the fourth Mix-tape in J. Cole's catalog and a top gap release before the main event "The Fall Off" is released presumably later this year. The tape is excellent, and J. Cole is operating in rare form. Every verse he does is packed with bars, his schemes and internals are tight, and his pace change-ups, and flow is fluid. Sonically there are a lot of chill beats and light soul samples. "Pi ft Daylyt and Ab-Soul" finds Cole at his most clever, precise, and exercising his lyricism to its maximum potential. "Sticks and Stonez" is laid back instrumentally which gives Cole a runway to bite back at haters, he sounds crisp, he's never been this skilled. "Pricey" feat. Young Dro and Gucci will sound great in your system or car but also J. Cole will sound great as he's lost his mind on the mic. There's tons of mention of being hungry and ripping everyone to shreds on features. He also sends some jabs Kendrick's way on "7-minute Drill" a 3-minute track putting Kendrick in his place taking shots at his discography, his authenticity, his work ethic, etc. It's nowhere near scathing in fact it's friendly.. still, he got in the ring. You can't be running around calling yourself the top dawg, have a major player diss you, and, proceed to do nothing, obligations that come with the throne. At this point, we're just waiting for Cole's official album release. 8.5/10 Side Note: Cole has since retracted 7 Minute Drill, a fascinatingly mature choice. Didn't play well with a lot of the public but doesn't change the level Cole's been operating at.

Green Day-Saviors: Green Day returns with their 14th studio LP. This one is a major improvement from their critically panned album "Father of all Mother F*ckers" album released in early 2020. This time around the band recaptures a little bit of the magic they had in their heyday roughly 94-04. Particularly in the 90s, with tracks like "Ma, No Brains!" and "1981" bringing good punk energy the guitars are packing the right kind of punch and that speed and restless energy punk is supposed to have is there. Then there are the alt-rock tunes that are well written like "Suzie Chapstick" or "Father to a Son". A condensed version of the album with about 10 songs may push this into the great category. There are songs here that are a bit too bland, safe, and, generic for my taste. Ironically the title cut rings somewhat stale to me, tracks 7-9 sound nondiscript. At their age, I guess they lack the energy to consistently gen up punk ferocity, which is fine. I wasn't sure they had an album this good left in them something I'm happy to get from one of my favorite bands. 7.5/10

Rapsody-Please Don't Cry: Please Don't Cry is North Carolina's own Rapsody's fourth official album not counting mixtapes and eps. Rapsody's been a great rapper since her debut Idea of Beautiful and has only grown as an MC. Lailia's Wisdom was better than that, and Eve was even better than that but I believe this is her best project to date. It's easily her most personal/vulnerable and we get to see exactly where Rapsody's head is at on this album while still dazingly on the mic with her skill set. "Marlena" is a great tone setter as she raps aggressively but ultimately is trying to figure out who she is under all the bells and whistles that come with being a rapper. "Asteroids" with Hitboy is amazing and sounds like something I'll be listening to for years to come as she speaks to her greatness going underappreciated due to sexism and hate on both sides. I have a personal connection with DND(It's Not Personal) as someone who needs days where they don't interact with anyone and needs alone time I get it, if you're Rapsody I imagine that time is even more precious and special. "That One Time" is deep, personal reflective as she speaks to doing things that go against the morals she grew up with personally, experimenting sexually, seeking validation, and, love she feels she may have never gotten as a youth. It feels almost too personal but it also lets you into the human side of the artist, this is Rapsody, the type of things that make her tic, what she's going through. "Loose Rocks" is a tear-jerker, as Rapsody speaks to dealing with a family member struggling with dementia making their day and dealing with the heartbreaking reality that she may wake up one day and not remember who she is. It's devastating but again shows vulnerability and speaks to a mental health topic not discussed in rap all that much. Special. Elsewhere Rapsody shows she can go with the best of them I love her track with Wayne almost has a lo-fi sound production-wise. Both of them go crazy on the track, particularly Rapsody, I also love "He Shot Me" speaking to the pain and trauma we go through with police brutality in this country. "Back in My Bag" is a straight banger of a track and much much-needed one on the album. This album is deep, and personal and shows a lot of range as a writer for Rapsody. It's a long 22 tracks long but she carries it, her talent warrants the run time. 9/10

Vince Staples-Dark Times: Vince Staples is the 6th studio LP from Vince Staples none have his albums have been bad but he's definitely been on a run from the self-titled LP he released in 21' moving forward Rohmona Park Broke My Heart may have been even better but it wasn't played as much for me. Dark Times is a little more similar to the self-titled album, it's tighter at around 10 tracks discounting skits, intros, and outros. It finds Vince Staples really struggling between his most morbid thoughts and feelings of hopelessness and his desire to see those around him escape the traps and hellscapes they think they need to participate in. "Government Cheese" finds Vince dealing with some survivor remorse, dealing with being the only one who made it. "Shame on The Devil" is a track where you can see Vince dealing with temptation and recognizing the wrong but still falling weak to it at times. "Etouffee" finds him dealing with fans of his old music or his more street tales and criticizing that while giving it to them with this very track. "Little Homies" speaks to the youth and warns them about crashing out speaking to the idea there's value in long life. The album is personal, thoughtful, and subdued. 8/10

Tha Dogg Pound-W.A.W.G(We All We Got): This is a fun one, full of nostalgia and music to ride to. Tha Dogg Pound is back with Snoop, Rage, RBX, etc with a new album that features that classic g-funk sound. While their angst has smoothed over, it's not nearly as hardcore as Dogg Food, there are definitely bangers on here. I love the first track "Smoke Up" Daz and Kurupt come off on that well. The title cut has some of the best production on the whole album, definitely, a track I can see myself going to and returning to. There are a lot of feel-good chill tracks on this album, a lot to play and relax to on a Sunday afternoon. Still, I'm inclined to tracks with more to say I enjoy the track "Grown Up" which speaks to being too old for the violence of being active, I also appreciate "Always on My Mind" which is in dedication to those loved and lost. "Who Da Hardest" Ft Lady of Rage, RBX, and Snoop may be the crown jewel of the album, love the beat, and, each member of DPC went hard on the track. On the whole, I think this is a well-produced album from some veterans that know what they're supposed to sound like. May not blow anyone away but worth a listen. 8/10

Little Simz-Drop 7: Little Simz comes through with a short 7-track EP that sees her experimenting with some glitch-hop sounds. Skittering percussion, jittering beats, and Simz earnest vocals on these tracks. This is nothing I'd say that's particularly special compared to the previous two Little Simz projects. I enjoy the smooth swagger of I Ain't Feeling It" I also enjoy "Far Away" for its Electro&B sound. It's quick ideas that involve her experimenting and trying something new but at 14 minutes it's just a stop-gap release I think this sound could be interesting though and I think more fleshed out and powerfully produced I think Simz could do a lot with it. 7/10

Mach-Hommy-Richaxxhatian: Mach-Hommy is a New Jersey rapper of Haitian descent under the Griselda umbrella and takes cues from that sound. The beats here are dark, gritty atmospheric beats, a lot of melancholic pianos, and, off-kilter beats that make me think of grey skies and cracks in the sidewalk. A lot of the beats are lush, not uncommon for a flute or horn to come in a give it a full body feel. His style is also somewhat reminiscent of Roc Marciano's who's featured on the first tracks on the album. Mach-Hommy raps with conviction and has a nimble and fluid flow. He's a dense rhymer known for stacking internals and multi-syllabic rhymes on a beat. Most all the tracks here are great and I think thus far it's the best album I've heard not only from the Griselda camp this year but in this vein this year. I can see myself returning to this throughout the year. 8.5/10

Megan Thee Stallion- Megan: This is Megan Thee Stallion's 3rd LP. It's another great project filled with unbridled charisma, a tight flow of hunger, and unapologetic raunchiness. The album starts with "Hiss" one of the hardest songs on the project and there's a certain energy and tenacity Megan can reach on record that when hit can be some of the most entertaining in music really. She comes right behind that with "Rattle" a catchy tune with a solid hook. There's a lot of talk about dominating despite haters and really coming through triumphant despite that. There are times when Meg can fall victim to some of the same types of songs and beats and flows to the point where things can be generic. "Otako Hot Girl" is a point where Meg challenges that and leans on her love of anime, the beat is effervescent and I think it takes her to a different place flow-wise. I feel similarly bout the Yuki Chiba-assisted "Mamushi" a J-Rap bop as Megan goes for something a little different. "Accent" ft Glorilla finds Meg & Glo embracing their southern accents and style, it's a great track, and Glo's vocals cut through differently. "Paper Together" ft UGK is great Meg gets into her Tina Snow bag as she, the late Pimp C, and Bun B wax poetically about pimpin'. "Down Stairs DJ" is Megan in her bag, it's confident and sexual, authentic to who she is. Megan can give you layers and though it's not all over the place on the album, "Worthy" and "Moody" especially let you behind the curtain see the woman behind the looks, and partying to some of the things she struggles with on a day to day. I think it's a worthwhile album. Is it a little long yeah but I think ultimately you get what you want from Megan if you're into her as an artist. 8/10

Lupe Fiasco-Samurai{Off first listen}: Lupe's ninth Studio LP, this album has a jazzy sound to it, and a lot of melancholic piano chords to it. As for Lupe similar to Nas, you don't worry about Lupe lyrically, he's mostly always sharp. I love the authenticity and sound of "Palaces". "Cake" showcases not only skill but braggadocios rhymes. The album while leaning dense lyrically because that's just who Lupe is is a more easy listening than some of his past projects. Samurai is only but 8 tracks 31 minutes long neat and concise a quality addition to Lupe's catalog with a good amount of replay value.

[surrealisticduvet]

Album Review: Tropical Campfire’s (1992)

No, that’s not a [sic] in the album title. The original release had “...tropical campfire’s…” on the cover, a snippet from the vivid liner notes:

Somewhere in the great desert ocean the mighty bird stretches her wings. Night is falling and the horizon slowly disappears into the stars. Now she must navigate by the southwestern tropical campfire's mambo raga songs, their sounds rising from the desert floor up with the winds lifting her higher and higher and finally giving her a dead reckon, eastward, to the oasis and her home.

In the subsequent releases of this album, the cover was redone and our beloved apostrophe removed, likely due to the misconception that there was a glaring grammatical error on the cover. 

This album marks the end of Michael’s 13 year hiatus from studio album releases, and also marks the return of Red Rhodes to the recording studio! The tour associated with this album was one of the last things Red would work on, and his presence really takes the band from good to absolutely stunning. This is especially evident in the live performances, most notably for myself this one. I think I experienced a slice of ego death while watching - up until that point I hadn’t really appreciated the album, held back by my preconceptions of music from this time period in general and to an extent my love for the sound of Michael’s early work. Seeing the band live (recorded) in action made it impossible to ignore the dedication and passion the players have for their music - Tropical Campfires is not an album, it is a lifestyle, a convergence of musical styles and spiritual beliefs which culminated into twelve pristine tracks through which we can share in a small piece of that sublime artistry. 

A poll from my wonderful readers indicated that the track-by-track review style was nicer to read than the indiscriminately divisive utilization of favorites/critiques, so that’s how I’ll approach this one. Après vous! 

“Yellow Butterfly” - Any theoretical physicists in the crowd tonight? Referring to the “butterfly effect,” this song is a perfect introduction to what Tropical Campfires has to offer: contemplative melodies, jazzy piano and soft drum evoking the feeling of a warm lounge room, and an extraordinarily skillful guitar section swirling with a tropical breeze. 

“Laugh Kills Lonesome” - Just as someone who didn’t read the CD liner won’t understand its title, if you’re not familiar with the Charlie Russell painting Laugh Kills Lonesome, you might choose to pass this song by. It has a funky swing to it and a riveting percussion section and - not to repeat myself over and over, but the band is so talented. Michael’s recounting of his own experience with loneliness makes this song all the more powerful, and recursive in its truthfulness - who, listening, can feel lonesome? 

“Moon Over Rio Grande” - Drawing on the same gentle cowboyishness that is surprisingly shown not on his early records, but on Radio Wing, this song is pristine in its quietly passionate nature. His voice here is strong and intricately varied, demonstrating his abilities without abusing them. The minor key harmonic blend is strange and fascinating, adding a dissonant depth to a song that might otherwise be too beautiful. I make a broken record of myself at this point to say that Jorgenson is a master of the classical guitar (and others of its kind); and if you ever wanted to simply hear him in action without all those vocals getting in the way…

“One…” - Aside from its being a lovely composition and a bit of an instrumental break, this song certainly foreshadows the sort of music we’d hear two years later on The Garden. It features a tasteful callback to the chorus melody of “Rio,” letting it shine in a way we haven’t seen before, in a new genre. This album as a whole shows how thin the boundaries of style and genre are, in a much classier way than some of his previous attempts.

“Juliana” - Hasn’t it been a while since we’ve heard a pure, unironic love song from him? Unencumbered by youthful pride and folly, Michael sings a confession of his “true heart’s desire” in a way that might seem trite if not for its concrete sincerity. From another artist, this might be just another song on the shelf - but for the man with an extensive history of writing songs about moving on, rolling with the flow, and letting unfulfilling love pass him by, there is something supremely satisfying about the intensity, the slow, thoughtful dedication represented by this song.

“Brazil” - I’m hardly enough of a linguist to comment on the execution of this song, but it sounds lovely, the performance is wholehearted, and he even kills it live.

“In the Still of the Night” - Michael does two Cole Porter songs on this album, and although the second one is good too, no matter how many times I listen to this one, it always blows me away. It feels silly to love so deeply a song that the artist - being a notable songwriter themselves - did not write; but as with “Wax Minute,” it feels as if this song was written intentionally for him to sing. The understated bass-and-rhythm backing does the tenderhearted lyrics well - altogether, this song could not be more perfectly done in my book, save for being a few minutes longer. 

“Rising in Love” - If there is perhaps a weak link on this album, I think it would be this one, although that isn’t to say I dislike it. I very much love the verses, and the choruses aren’t bad either - it’s together that I don’t particularly love them. I think the transition is a little awkward and doesn’t quite achieve what it sets out to do. That being said… for lyrics as strong and sappy as these, I will sit through anything - and the guitar is so sharp and moving that it’s always a must-listen.

“Begin the Beguine” - Howdy again, Cole. I have not heard the original version of this song, so this review banks on the assumption that its style was at all different from what we see here, but I think the arrangement of this song is so lovely. And the way Michael’s voice can be so strong yet betray a sense of tiredness, of longing and weakness, is amazing.

“I Am Not That” - This song reminds me of John Lennon’s “God,” during which he denounces all but his own love. Here, Michael sets the record straight, finding it easier to tell us what he is by telling us what he is not. And in his traditional fashion, it is sung in such an upbeat, tongue-in-cheek way that you can’t tell exactly whether or not he’s joking. If he even is “he”!

“...For the Island” - A continuation of “One…”, “...For the Island” finally gives us some more lyrics, simple as they are. Backing vocals are used skillfully to blend into the existing melody, and although it doesn’t stand out as a song on its own, it is a nice bit of filler, which yes - is sometimes very much appreciated, and even necessary, on an already great album.

“Twilight on the Trail” - Absolutely a perfect closer for this album - in case you’ve forgotten who we’re dealing with, amongst all the genre experimentation we’ve experienced and will continue to see in the future, this is still Michael Nesmith, certified country boy. If you can’t picture yourself riding off into the sunset to this one, you’ve probably forgotten to press play. At the conclusion of the album, Red’s pedal steel features as heavily as it ought to, followed by more guitar, and some tasteful clip-clopping percussion. Really, you couldn’t ask for more.

Conclusion: Jane Austen’s Emma said “if I loved you less, I might be able to talk about it more,” and such is how I feel about Tropical Campfires - and why this review has taken me longer than any of the others (besides my being lazy, etc). When I first listened to it, I was offended by its originality, its audacity to be something fresh and genuine. Now I see that I was only blinded by what I did not understand (now that’s a bit more Mr. Darcy of me - not to mix book references), and so I feel that it is exceptionally hard to critique in a meaningful way. While this album is not technically perfect, it deserves to be noticed and lauded in the same way that we do retrospectively for the First National Band trilogy, if not more. And it’s just so beautiful and comforting! Literally go listen - and then spread the good word!

[sharktunes]

Golden Days and Gray Skies: The Nostalgia of Fearless (Taylor's Version)

As a longtime Taylor Swift fan, I was beyond excited for the release of Fearless (Taylor's Version). This album holds a special place in my heart, as the original Fearless was the soundtrack to my childhood year. Taylor’s decision to re-record her early albums is not just a business move, it’s a powerful reclaiming of her music and her story.

Track list

Fearless The title track is such a perfect opener. It captures that feeling of young love and adventure. Taylor’s voice sounds even more powerful now, and it makes me feel all the butterflies again.

Fifteen This song just feel so high school. It’s all about those first crushes and the lessons we learn. The way she tells the story is so relatable, and I love how it feels like she’s giving us advice from a big sister.

Love Story This is an absolute classic. It still gives me chills every time I hear it. The romance in this song is timeless, and it feels just as magical now as it did back in 2008.

Hey Stephen This track is just pure fun. It has such a catchy beat, and the lyrics are super cute. You can’t help but smile when you listen to it. It’s all about those exciting crush moments.

White Horse This song hits hard. It’s about realizing that not every relationship is a fairy tale, and Taylor nails the emotion here. Her voice is so raw and beautiful, it really pulls at your heartstrings.

You Belong With Me Who doesn’t love this anthem? It perfectly captures that feeling of wanting someone who doesn’t see you that way. The chorus is super catchy, and I still find myself singing along every time.

Breathe (feat. Colbie Caillat) This collaboration is so soothing. It talks about the pain of letting go, and both their voices blend beautifully together. It’s one of those songs that makes you feel all the emotions.

Tell Me Why This track really captures confusion in relationships. You can feel her frustration in every line, and it’s so relatable for anyone who’s been through a tough breakup.

You’re Not Sorry This song is all about betrayal, and Taylor delivers it with such power. You can hear the hurt in her voice, making it a standout moment on the album for sure.

The Way I Loved You I love how this song contrasts a passionate relationship with a more stable one. It really shows how complicated love can be, and the storytelling is just amazing.

Forever & Always This one hits home too. It talks about heartbreak, and Taylor’s delivery makes it feel so real. You can really sense the pain in her voice.

The Best Day Aww, this song always makes me tear up! It’s such a sweet tribute to her family, especially her mom. The love she expresses here is so genuine, it warms my heart.

Change This track is all about overcoming obstacles, and it gives me chills. The message of resilience is uplifting, and I love singing along to this one. It feels empowering.

Jump Then Fall This track is such a bubbly addition to the album! It’s all about the excitement and innocence of falling in love. The cheerful melody always puts a smile on my face.

Untouchable The dreamy, soft vibes of this song are mesmerizing. It has a unique atmosphere compared to the rest of the album, and Taylor’s voice sounds magical here.

Forever & Always (Piano Version) This stripped-down version is heartbreakingly beautiful. The raw emotion in her voice paired with the piano makes it even more poignant than the original version.

Come In with the Rain A hidden gem! This song is so underrated. It’s about waiting for someone to come back into your life, and Taylor expresses that yearning so well.

Superstar This sweet song feels like a love letter to a distant crush. The starstruck tone and tender lyrics make it feel personal yet relatable.

The Other Side of the Door This is one of my favorite tracks! The bridge is absolutely iconic, with Taylor pouring her emotions out in a way that feels so authentic. It’s a perfect mix of drama and vulnerability.

Today Was a Fairytale This song is pure magic. It’s light, romantic, and feels like it was taken straight out of a fairy tale. It’s a timeless track that complements the album beautifully.

Vault Tracks

You All Over Me (feat. Maren Morris) This new track is fantastic. It talks about memories after a breakup, and Maren’s voice adds something special to it. I can totally relate to the lyrics.

Mr. Perfectly Fine Such an upbeat song! It’s catchy and fun while reflecting on moving on from someone who wasn’t right for you. I find myself dancing every time I hear it.

We Were Happy This one feels nostalgic and bittersweet, like looking back at happier times in a relationship. You can really feel the longing in her voice, which makes it so relatable.

That’s When (feat. Keith Urban) A beautiful duet about timing in love. Their voices work so well together, and the lyrics are heartfelt, definitely one of my favorites from the vault!

Don’t You (feat. Phoebe Bridgers) Wow, this song is hauntingly beautiful! It dives deep into heartbreak, and both artists bring so much emotion to it. It just sticks with you.

Bye Bye Baby This closing track wraps up everything nicely. It reflects on loss but also hints at moving forward. Such a perfect ending to an amazing album.

As a Swiftie, I absolutely love this album so I would give the whole album a 9/10 rating. It's nostalgic yet fresh, showcasing Taylor's incredible talent as both a songwriter and performer. If you are a person who loves country pop, I really do recommend this album for you to listen.

-Ashjoe

[vinyl-connection]

PRELUDE

It was on the airwaves during the Summer of ’73 and sounded like nothing else. A mysterious, beatless opening full of space buzzes and cosmic bird calls that built thrillingly into an infectious jazz-funk epic. No words but a riveting groove. That piano! At the time I had no idea what a Fender Rhodes was, but I liked what I heard; a crystalline yet jazzy sound that seemed to epitomise cool. Ear…

[o-the-mts]

Albums of the Month: Fine Art by Kneecap

This week I will be checking out five albums I missed from 2024. Album: Fine Art Artist: Kneecap Release Date: 14 June 2024 Label: Heavenly Favorite Tracks: I bhFiacha Linne Sick in the Head Love Making (featuring Nino) Parful Rhino Ket Thoughts: Kneecap, the West Belfast hip hop trio, starred in a biopic about their origins last year, but did not rest on their laurels by also releasing their…

[damonalbarn]

The Ballad of Darren - Major Albums Reviews

METACRITIC

Louder than War 5/5 ★

Clash Music 9/10 ★

Rolling Stone UK 4/5 ★

Record Collector Magazine 4/5 ★

UNCUT 8/10 ★

NME 4/5 ★

DIY Magazine 4/5 ★

Classic Pop 4/5 ★

MOJO 4/5 ★

The Skinny 4/5 ★

Music Connection 8/10 ★

The List 4/5 ★

The Upcoming 5/5 ★

Unilad 5/5 ★

Riot Mag 10/10 ★

Gigwise 9/10 ★

Load and Quiet 7/10 ★

Gigslutz 5/5 ★

The Rock Revival 5/5 ★

Slant Magazine 4/5 ★

Narc Magazine  4/5 ★

The Quietus 8/10 ★

Concrete Islands

The Mancunion (track by track review)

Wall Street Journal 

Cult Following 

Arctic Reviews

Ultimate Classic Rock

Yahoo