#albumreviews

[musicmattersmedia]

Welcome back to the Music Matters Media Podcast! In this special episode, we’re taking a deep dive into our album reviews from last year, revisiting the scores we gave to artists like Green Day, Gary Clark Jr., Justin Timberlake, Ariana Grande, Dua Lipa, Billie Eilish, and more! Did these albums hold up over time, or did some grow on us in unexpected ways? Tune in for an update on all our ratings, and find out which albums are still rocking our playlists—and which ones… maybe not so much. Don’t miss it!

Visit our website: MusicMattersMedia.com All Music Matters Media links: linktr.ee/musicmattersmedia

[canadianstud]

SPARKS ALBUMS TIER LIST RANKING (1971 - 2023)

[evareviews]

‘This is Why’

Paramore’s newest release This Is Why, might just be the best Paramore album to date. Don’t get me wrong – I love their old, emo music. Like many little emo children back in the 2000’s, Paramore dominated much of my listening; from the second I heard Misery Business, I was hooked. Being the type of person who is incredibly resistant to change, I personally did not find their Paramore album much to my taste – for me, I felt it strayed too far from the Paramore I knew and loved. It didn’t stop me from listening to After Laughter of course, but again, I just did not see Paramore in the songs. To me, those two albums are almost a crossroad for the band – they were exploring and trying to re-invent and find themselves as a band after so much conflict between the members. Some wonderful songs from these albums still – Part II, (One of Those) Crazy Girls; Pool and Idle Worship to name my favourites – but as an overall, to me, it just wasn’t what I saw Paramore to be.

Hayley’s self-titled album, on the other hand, was truly a masterpiece. Petals for Armour was what I listened to on repeat in the first covid-19 lockdown – her pain and anger, brought out so beautifully with her magnificent vocals, truly showcased an unmatched talent. Sudden Desire, Roses/Lotus/Violet/Iris, and Crystal Clear, display her vocal range and musical abilities to their highest form. Petals for Armour was such a step away from Paramore, and especially the Paramore I was used to – leading to a wondering of what this meant for the band’s future.

Their first single since After Laughter, This is Why, again took a step in another direction. You can see the elements of Paramore and After Laughter within the song, yet still brings a completely new era into the equation. I wasn’t sure what to expect with the album – with the accompanying singles of The News and C’est Comme Ça, I was expecting a newer, improved era of their 2013 and 2017 albums. What has been produced, however, is something entirely different. This is Why, is that perfect blend of Hayley’s solo projects, and Paramore as a band – Figure 8, especially, for me, is the perfect example of such. The lyrics, raw, emotional vocals and the accompanying music mesh perfectly, combining Hayley’s solo work exploration, and Paramore’s new era.

I saw a tweet (@tinyhottopicbish) upon release date, suggesting listening to Pool, Crystal Clear and Liar in a sequence. The way the songs flow into each other, across the span of three sperate albums, made me second guess my initial reactions to Paramore and After Laughter. It is almost as if a plan was truly made – perhaps this was always the route Paramore was to go. I’ll re-iterate that I am not a fan of change – when My Chemical Romance’s Danger Days album was released, I was almost hurt by the drastic change in their tone and mood. Paramore's 2013 album brought about the same reaction. But we all must grow up and mature at some point, and Paramore’s evolution is clearly one for the better. This is Why, is a wonderful example of such maturity: it is different but holds elements of their roots still at heart. It has made me re-think my emotions on their 2013 and 2017 albums, and although they will never be my favourite of their six albums, This is Why may have overtaken Brand New Eyes, and I am so excited to see what the future holds for Paramore.

[sandrarchives]

Rating: ⭐⭐⭐⭐⭐ Date of Discovery: January 20, 2024 Review: I discovered this song while I was in line for UP Fair's REV concert tickets, and I'm so happy I found this album because it is really, really good. Whenever people asked me for album recommendations, this is one of the albums that I suggest. Renee Rapp's voice is just soooo good and she shows it through her songs. The album is a good mix of fun, sad, and crazy songs, and whatever you're feeling right now, you're bound to fall in love with at least one track (can relate, I'm in love with almost all of them).

Favorite Songs:

Talk Too Much

I Hate Boston

Poison Poison

Gemini Moon

Snow Angel

Tummy Hurts

[warrenwoodhouse]

Def Leppard’s Vault: Greatest Hits (1980-1995) (Album Reviews) (Reviews)

I have been a fan of Def Leppard since the age of 14 and it’s been one of the albums that I have been mostly listening too. You might disagree if you’re not into rock; I assure you that listening to this album would make you agree to rock.

It’s not always shouting, in this case, Def Leppard introduce another way to get bromance through lyrics which are easy on the ears and makes you want to sing along, even if you’re not up for it.

I like the music on this album as it makes me happy and is a great experience if you want to get into rock music.

I got interested in this wonderful Sheffield British Hard Rock band and I’m sure that you would too.

“Vault” says everything about me and my personality and is the main reason for why I wanted to do this review. I like this band and it’s the reason for why I got into listening to rock music.

[indepthjaybeats]

The 10 Best Rap Albums of All Time: A Must-Listen Guide

Are you ready to dive into the world of rap music? Whether you’re a die-hard fan or new to the genre, this must-listen guide will take you on a journey through the 10 best rap albums of all time. From the iconic lyrics of Tupac Shakur to the groundbreaking production of Kanye West, these albums have shaped the landscape of hip-hop and left an indelible mark on music history. Discover the raw…

[amari-3-18]

The latest Amari Music Talk takes a look at this game changing album by Tony Toni Tone’, the 1993 album Sons of Soul! Like and subscribe!

[brandon-gonchsquared]

Early review of Foo Fighter's new "The Teacher"

[aripoeticmusicreviews]

SZA'a don't call me is giving Summer in the Winter

From the head nodding beat, to the bossy lyrics... SZA's don't call me is a far cry from where she started as a Somber writer trying to get an ex to understand she needs too much attention, and she could be his supermodel if he just believes. This melodic number on her newest album doesn't need a man to do anything but what she says. If you're use to the poetic SZA who bares her soul while at the same time writing her wrongs along with all of her exes wrongs too... then don't listen to this one. But if you're feeling bossy enough to talk smack whilst smacking on bubble gum the same color as your platform heels, this is the song for you. I will say... it seems SZA has decided to leap out of the box musically... Catering to her culture while at the same time making every ex she ever wrote to on her CNTRL album her muse just enough to boss up, stand up, and pull out that confidence. Listen to it, just don't pull up on one of your exes after. lol

I think all SZA fans are in awe, looking forward to more of SZA's twists and changes musically. We'll see where 2023 takes miss thing lyrically. I wonder if her will to change it up and make bossy music, will in turn pull out deeper, melodic, poetic lyrics in the future. Because change is change right? Deeper than Drew Barrymore, deeper than Supermodel... only time will tell.

[dustedmagazine]

Godspeed You! Black Emperor — "NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD" (Constellation)

The night of the election in America, Godspeed You! Black Emperor played a show in Toronto. As they almost always do, they said nothing. No interaction beyond playing music and then expressing wordless thanks to the crowd as each stepped off stage to the roaring feedback surge that closed out “Piss Crowns Are Trebled” and the concert. Even if they’d taken a moment to check the news that night, what was there to say? As suggested last time here, the ineffable, unspeakable power of the Montreal collective can be read at least partially as the only possible response to the deranged and deranging power of repression and evil in the world. 2021 felt dark. Suffice it to say that things have not gotten better and appear set on getting quite a bit worse.

The title this time, of course, is a reference to the verified (and thus almost certainly lower than actual) death toll of the genocide in Gaza at the time of creation. Associate and Constellation labelmate Jessica Moss released her own powerful statement on the same issue this year, and again, things have not improved in the meantime. It’s enough to lead to a rare appearance of lyrics, with “RAINDROPS CAST IN LEAD” featuring a poem in Spanish read (and written? as always, the band remains gnomic) by Michele Fiedler Fuentes. Of course the current album will be viewed in light of current events (they almost beg you to do so, from track titles and statements on down), and while no Godspeed You! Black Emperor record is exactly drowning in levity, they cast a particularly grim panic over affairs here.

If G_d's Pee AT STATE'S END! frequently felt like the massive, sweeping motions of some sort of gestalt entity, it’s fitting that things here feel fractured at times, if no less cohesive. Halfway through “PALE SPECTATOR TAKES PHOTOGRAPHS” it feels like there’s a fire alarm going on behind the banks of sound. One of the guitarists frequently sounds as if they’re trying to pickaxe their way through a boulder (especially on parts of “BABYS IN A THUNDERCLOUD”). The opening “SUN IS A HOLE SUN IS VAPORS” sounds equally as if they might be tuning up for most of its length and like it’s a shame they’d already gotten around to using the name “Anthem for No State” as a title.

Godspeed You! Black Emperor has always been oriented towards apocalypse (the machine has been bleeding to death since their first album as a group, if not long before), and it continues to be queasily terrifying how swiftly the world rushes to meet them there. These are always someone’s last days; the rest of us wake up each morning and fall a little further down. They themselves say, this time, “what gestures make sense while tiny bodies fall? what context? what broken melody?” That may be the reason they close with “GREY RUBBLE - GREEN SHOOTS,” a tidy just-under-seven-minutes that presents both a stirring crescendo and an aching coda. Determined as always to nurture what is left growing after all the valedictions and maledictions are handed out. Every triumphant moment here feels wrested from the jaws of death, all too aware of who still gets claimed. They, and we, have to keep going.

Ian Mathers

[album-a-day-project]

2/20/24

Yeat

2093

====

This is my first time listening to Yeat at length. I've come to the realization that I don't need 22 tracks from artists like this anymore. He seems to use the same exact flows as Travis Scott, without the same level of entertainment value, maintaining a monotone voice throughout every single track.

Upon reviewing the credits, I noticed numerous writers listed for each track, as well as various 'TikTok Producers', which initially surprised me. It appears that we're witnessing the full evolution of Soundcloud rap into TikTok rap, with the first successful artists garnering substantial industry hype and financial backing. This is likely how Yeat managed to feature Future on the track 'Stand On It', which falls flat.

There's undoubtedly a place for this type of music, and Yeat appears to be leading the charge in the zone of TikTok rap. However, the repetitive and uninspired lyrics fail to drive the overall industry forward. By the end of this album, I find myself thoroughly exhausted. Thankfully, it's finally over.

5/10

[screamingforyears]

MINI_REVIEW(ed):

‘CHAMELEON’ (@daisrecords) is the debut LP from @trauma.ray & it finds the Fort Worth-based quintet of singer/guitarist Uriel Avila, guitarist Jonathan Perez, bassist Darren Baun, drummer Nicholas Bobotas & guitarist Coleman Pruitt seamlessly HUMming their way across a weighty 12-track spread that’s chockfull of bombastically amplified AltRawk (Bishop), quietly/loud GrungeGaze (Spectre) & tenderly textured DreamPop as heard on sprawling 7+ min closer “U.S.D.D.O.S.”

[canadianstud]

DAVID BOWIE ALBUMS TIER LIST - ALL HIS ALBUMS RANKED

[sandrarchives]

Rating: ⭐⭐⭐⭐ Date of Discovery: 2024 Review: I'm so glad I decided to listen to this whole album. The first song I listened to was Malleable, thanks to Zai, and it is an amazing song. I wasn't able to listen to the album immediately after I discovered that song, and I'm so mad at myself that I didn't because it is amazing. I honestly thought it wasn't going to be my taste kasi parang more on ballad yung songs nya and ballads are a hit or miss for me, but this album is full of beautiful banger ballads and I am in love with it. Really really beautiful album; perfect for when you are hurting and you want to hurt more. Favorite Songs:

Flicker

Mudroom

Malleable

Planting Flowers (my super duper fave as of the moment)

Wishes

[mythologicafolk]

Scurra, the French Medieval Folk band known for its "strolls" around medieval fairs, released their album Marchands de Fables in April 2024. The band graciously sent us its digital version for reviewing.

Read more:

https://mythologica.com.br/en/reviews/scurra-marchands-de-fables-2024/