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sendmyresignation · 1 year ago

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Favorite Albums of 2023 ^_^

To celebrate the coming of a new year, I wanted to spend this first week looking back a bit at the things I enjoyed both old and new. So I put together a little list of albums I spent a lot of time with this year, for a bit of personal posterity, a little of getting into the groove with music writing on a very conversational but nonetheless sincere level, and also just because I enjoy, on a base level, the exchange of music. So hopefully one person will give a new album a try, or somebody will tell me their favorite thing they listened to in 2023. That's all you can ever hope for <3

Here's the albums I loved that came out in 2023 itself:

100 gecs 10,000 gecs: If I’m honest with myself- my album of the year, both in what I spent the most time with and the tracks I’d hold up the most fondly by the end of the year. the high-octane blast of creativity in these short, sweet, never dull, and always inventive bursts made listening a very joyful experience. Hollywood Baby and Dumbest Girl Alive bangers of the year though one million dollars just oooozes and chirps sounds in the most satisfying way.

Paramore This is Why: very much preaching to the choir with this one. undeniable groove through everything– the whole thing brims with contained energy- like trapping a storm cloud in a bottle and displaying it like it's no big deal and then, every once in a while, electricity arcs through the room. The only issue is it ends on a bit of a weak note, with back-to-back ballads I don’t revisit often. but it's a minor quibble, they’re both distinct enough to stand on their own and neither is insufferably long. forgivable transgression.

Kesha Gag Order: This is self-explanatory, to me. Kesha was the first artist I ever truly fell in love with and everything she makes is like watching a flower bloom over and over again as I grow and change and wither and regrow right alongside. But on top of that, the record itself is so. powerful. Not in the cheap, congratulatory “you’re so brave way” but in the energy it radiates, in the way it stands its ground over and over. the way it grasps its own story by the throat and still lets you peak into all the messy pieces sliding out over the knuckles. Happy is one of those truly great album closers, but the whole album is so solid.

Vastum Inward to Gethsemane: Absolutely crushing in just about every way, This is like, the platonic ideal of death metal for me. Dense and malevolent as fuck, but there’s still room for these nasty riffs buried deep in all the disgusting muck. That opening guitar on Priapic Chasm is the sickest 8 seconds of the year.

The Gauntlet Dark Steel and Fire: At first glance, this seems like a textbook Bathory clone. And even if it was just that it’d still be amazing, I love that sound. But there’s space! and dynamic growth! And a growling echoing personality that every other standard in this space just never attempts. Even the hints of black ‘n’ roll and thrash are expanding a series of very narrow spaces– there are these mid-tempo stadium rippers scattered throughout the album that give the whole project gravitas which loops around and gives the faster stuff more swagger and aggression. really cool record.

McKinley Dixon Beloved! Paradise! Jazz?: I checked this out because McKinley Dixon has a great featured verse on Soul Glo’s Spiritual Level of Gang Shit. To make matters worse (or better, in terms of Shit I Am Interested In), the record’s named after Toni Morrison novels. To make it even crazier Hanif Abdurraqib opens the record (he reads this really beautiful passage of Jazz that's sampled later). An album so supremely up my alley I was almost scared the pieces wouldn’t fall together– they did! It's incredible! it's short but each second is purposeful and lush in a way that speaks to measure and care. the jazz isn’t just beautiful, it's a full embracing of the album’s central conceits (not just the Morrison, but the typography of cities, the people in them and the lives they live) and Dixon just oozes poetic ingenuity. Repetition is one of the best devices in his toolkit and nowhere is that more apparent than Tyler Forever which. man.... really really good project.

Tresspasser Αποκάλυψισ: catchy-as-fuck. not what you’d expect from an album which is very explicitly about debt strikes and anarchy. usually RABM (red and anarchist black metal) leaves me a little cold, a lot of bands in this loose conglomerate aren’t musically inventive. rabm isn't just a stand-in for anti-fascist bands, the projects associated with the label are usually politically lyrically explicit (sometimes in ways that are overtly shocking or simply following a trend). which is nice! and necessary in black metal. but it doesn't automatically make it… good. trespasser have always stood out within that paradigm. clearly grounded in what actually works in black metal (the drumming across their albums is crazy kick ass in particular) and i find myself humming some of these tracks which is such a hard skill to pull off in melodic black metal without being dull or predictable.

MEURTRIERES Ronde de Nuit: very surprisingly, a lot of this list ended up including black metal, which is uncharacteristic of me. but thankfully, MEURTRIERES is much more aligned with my tastes– epic old-school heavy metal with that galloping Maiden-esque bass and fiery, straining vocals that sit so expertly in the groove and then just push and push and push against it. simple, enjoyable, energetic.

Home Is Where the whaler: At its most basic level this is like. what emo can pull off when it wants to sound incredible. The swirling layers, the inclusion of shit like horns, the abrasive but catchy screams, crashes in and out of earshot, the rhythms!!! this is a very 2023 album, thematically and that's important and immediately apparent, but it's going to last much longer just with how the sound works and works and works until you find yourself continuously coming back, listening to it out of the blue.

Thantifaxath Hive Mind Narcosis: quote-unquote dissonant metal is so hit or miss for me. dissonance is oft a cover for boring, or unoriginal material that hangs its lapels on being disorienting or impenetrable. but when the tone is just right it swallows you up. Thantifaxath got the tone right; I was listening to this a lot while reading or writing during the latter half of the year because it just becomes a part of your world in such a wonderful, subsuming way. I really love these vocals too, they’re vaguely inhuman in a way that pairs so exactly with the balance of spacey and gross earthy magic, outside the world and grounded in flesh simultaneously.

Crotaline The Hemipenes Demo: This is my friends’ band. They are cool and talented and I love first-wave black metal. They are also people whose projects I listen to in a fundamentally different way; when they pull something off it's a little bit life-changing because you know that person, you’ve seen them do human things! And then they are capable of great art. It's weird and disorienting and one of the best parts of being alive. But I do also think their demo is good without quantifiers, it's exactly what they wanted, it's got riffs that sound gnarly on tape, and it's dedicated to salamanders. like what else could you need in life?

Dawn’s Reflection Demo MMXXIII: This short little demo is a perfect burst of raw-ass lo-fi black metal. Which I usually cannot stand. but for some reason is just incredible here. I think it's the way the riffs and vocals interact– there’s these really solid, almost crust-punky guitar lines that shine perfectly in this kind of (basically non-existent) production. And then the vocals just completely rip over them in the loudest most batshit way possible, but there are always pauses that allow the instrumental to recalibrate. The synths are just a fun touch that drone in the back until they’re pulled to the fore which makes for these great, dense peaks instead of overwhelming the balance. It works! I am always hooked!

And here are some new-to-me albums I listened to for the first time in 2023:

Nuclear Death …For Our Dead: Nuclear Death is already a favorite of mine (I feel like I never stop talking about them) but I finally got around to their demos/EPs this year. this one takes the cake, easily. Topping out at under 10 minutes, this record achieves a kind of demented brutality other death metal bands would kill for in a fourth of the time. It's a miasmic stormcloud of a project that proves (as everything they recorded did) that nobody can out-sick Lori Bravo.

Moral Decay To Build an End: This is a couple of kids in the 1990s writing a thrash record. Not notable in and of itself. However, it becomes clear immediately that these technically proficient metalheads are obsessed with emo. Like oldschool dc emocore. And it is thrown into their mix of sonic influences plainly and obviously. It is one of a kind. It shouldn’t work. It probably doesn’t, unless, of course, you are me and obsessed with it. The vocals on this are punky as hell and they work surprisingly well over these speedy, late-stage neoclassical thrash riffs. It's wild. I love it; the gem of the year!

Little Teeth Child Bearing Man: you will either love this or find it insufferable. Mathy emo-y touches, but this is freaky folk through and through. Flits in and out these crazy choral vocal moments and harmonies that fall in and out of comfort-level– lots of borderline screaming (or just gives up the ghost and becomes screaming). Everything devolves but the sense of melody is always lurking out of frame and comes back around to quiet and confessional. Manages artful and cathartic with a lack of grace and a hell of a conviction.

Helen Love Love and Glitter, Hot Days and Musik: the best punk understands punk is pop music. This is why I love this record. Helen Love loooovvess The Ramones, she does. And since she loves them so much she wrote dance music in their honor and got Joey Ramone to feature on the record. Incredible.

The BellRays Black Lightning: Soul-filled garage punky rock that’s just masterfully loud, catchy, and full of unlimited swagger. Lisa Kekaula’s vocals are clearly grounded in a long, long line of rockers and soul-stirrers but what stands out is her maturity and control which allows for the slow-burners to feel huge and impressive– she’s the center, the burning star of the whole enterprise.

Chinchilla 101 Italian Hits: this album is weird and, obviously, I love weird. Situated in the already weird San Diego post-hardcore scene, Chinchilla still stand out with their epic song lengths, murky 90s alt-rock depths, and the way Sioban Dixon’s vocals shift endlessly between a distorted fry, throaty shouts, and sweet elongated falsetto. So fun to get lost in these songs.

Heaven’s Gate Livin’ in Hysteria: German power metal is always good. Heaven’s Gate is so obviously following in Helloween’s footsteps but Helloween is one of the greatest metal bands on planet earth and they execute that Keepers era sound so well they make a little magic themselves. Add onto that an album cover with a dragon smoking a pipe… it's over, it was love at first sight.

A Few Honorable Mentions (if you've made it this far):

-Corinne Bailey Ray Black Rainbows (mostly here because I got to it wayy late in the year and haven’t sat with it long enough. but this was incredible all the way through)

-Smoulder Violent Creed of Vengence (was initially disappointed by this one and then I finally got a tape player for Christmas and it just… clicked in the new format)

-Be Your Own Pet Mommy (i love, love, loved be your own pet as a teen and seeing them return to music after so long with the same blast of energy is so cool. I just think the album overstays its welcome; the EP they released with just a handful of tracks just puts it into sharper relief too)

-Melissa II (incredible it was just such a good year for black metal it didn’t quite squeeze up there for me)

and that's it for me; Happy New Year may we all find new music to fall in love with in 2024 <3

#whew this isn't even like a quarter of the top stuff i loved this year- had a blast trying to listen to more new music #can only hope to keep it up next year!!#and this was a super necessary low stakes break from all Serious music writing I'm trying to figure out rn haha.#sometimes you Need desperately to talk about things you love :)#music recs #my posts

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gatsgraffiti · 6 months ago

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amberunit06 · 2 years ago

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Y2K

Y2K is a visual style popularised in the late 90's and faded out from mainstream use around the early 2000's (1997-2004). The Y2K Movement is named after the numeronym abbreviation of the year 2000, commonly associated with 'The Y2K Bug', a proposed event were computers worldwide would seize to work due to not processing the millennium in their calendar systems correctly, this association makes this design movement very closely tied to the time period it originated in as it couldn't have came to be in any other due to the unique climate of fear and hope surrounding the new millennium.

Y2K's visual style can be described as being futuristic, showing the publics general consensus in what the future of the new millennium has to hold and how technology will progress. Y2K borrows a lot of its visual style from previous decades interpretations of the future, known as retro futurism. Examples of this include sleek, metallic/chromatic gadgets, bold geometric shapes and patterns, blobject elements, washed-out but bright colours, glittery transparent plastic-like materials, heavy inspiration from computer technology and various interpretations of the future, such as in the form of space travel, high tech gadgets and advanced internet systems.

Y2K's origins are thought to be linked back to the underground UK rave scene around the 80's-90's, an example of this is through the earlier works by The Designers Republic, who made album covers, posters, logos, apparel, typography and more that aligns heavily with Y2K's signature stye. They say that their style is influenced by corporate packaging and logos but they subvertise them as to make an anti-capitalist anti-consumerist message, this use of parody slowly evolved into their distinct bold, futuristic geometric style. However this style became more widely used in the mainstream around 1995-1996 with the release of Windows 95 and the start of the surge in popularity in the internet.

This visual style would fade out around 2005 to be replaced by other corporate styles such as Frutiger Aero and Mcbling. However, in recent times starting in the late 2010's Y2K has made a style resurgence, mostly due to designers gaining nostalgia from the time it was mainstream. Examples of this movement being sed recently include Happy99, u::r::here, The Y2K Institute, Charlie XCX and various other artists and musicians who have adapted this stye into their work.

Personally, I really love this visual style as it is incredibly visually distinct by being a proper time capsule from the period it is taken from. As well as this, I like how this movement characterises the future, by using highly stylised but plastic-like materials and gadgets, as it offers a wide range of experimentation and opportunity in its execution. I would personally love to incorporate this style more into my own art style as well as include visual elements from this movement into my own project, as it deals with change and the future as well as death and decay.

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savage-kult-of-gorthaur · 19 hours ago

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"YOU KNOW THE IMAGERY... IT'S RED HOT CHILI PEPPERS, SO IT'S LIKE SEX AND DEATH, YOU KNOW, WHATEVER, IT BECAME A POPULAR THING."

PIC(S) INFO: Resolution at 844x1271 & 782x1091 -- Mega spotlight on poster designs for American alternative rock/funk rock/funk metal band RED HOT CHILI PEPPERS, during the band's "Mother's Milk" era, performing live at The Fillmore in San Francisco, CA, with supporting acts MARY'S DANISH and PRIMUS, on September 15 & 16, 1989. Artwork by Frank Kozik.

"I was really excited here. I got called up by the Fillmore! It ended up kind of being a nightmare, though. They had this art director who was an unpleasant person. The Fillmore was still paying the original price of $150, but I was like, "Okay, I’ll do this poster." The art director came in and— like, they had way better typography — and she’s like, "I’m the art director. I’m gonna change the typography." So, this was not really how it was supposed to look, because it was heavily art directed and I got paid fuck all for it, but it was a chance to do a Fillmore poster, right? If you’re a poster artist, that’s kind of a veteran, the cap. And you know the imagery… it’s whatever. It’s Red Hot Chili Peppers, so it’s like sex and death, you know, whatever. It became a popular thing."

-- FRANK KOZIK (late, great American poster artist, record label entrepreneur, vinyl toy designer), NYLON, "The Story Behind Some Of The ’90s Coolest Band Posters, published c. July 2016

Sources: www.nylon.com/articles/frank-kozik-posters-nirvana, SF Rock Posters, various, etc...

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trendingstore · 14 days ago

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Motörhead Ace of Spades Special Edition Stanley Tumbler Cup

Product link:https://inspirdg.com/product/motorhead-ace-of-spades-special-edition-stanley-tumbler-cup/

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Motörhead Ace of Spades Special Edition Stanley Tumbler Cup

The Motörhead Ace of Spades Special Edition Stanley Tumbler Cup is an electrifying tribute to one of rock’s most iconic bands. Designed for fans of Motörhead and their legendary frontman Lemmy Kilmister, this tumbler merges bold artwork with exceptional practicality, making it both a collector’s item and an everyday essential. The black base color provides a dramatic canvas for the intricate and powerful designs that adorn the entire surface. Featuring iconic motifs such as the Ace of Spades logo, the Overkill skull emblem, and bold “Killed by Death” typography, every inch of this tumbler reflects the rebellious spirit and intensity of Motörhead’s music.

The standout feature is the stained-glass-style portraits of Lemmy, depicted in saint-like imagery holding a bass guitar or a bottle of Jack Daniels. These designs add a sense of reverence and artistry, elevating the tumbler into a celebration of the band’s legacy. Surrounding the portraits are intricate details, such as crosses, spades, and chains, giving the design a cohesive yet edgy vibe. The inclusion of the Stanley logo ensures premium quality, blending functionality with the visual appeal of rock memorabilia.

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Style & Design of Motörhead Ace of Spades Special Edition Stanley Tumbler Cup

The Motörhead Ace of Spades Special Edition Stanley Tumbler Cup is a bold and edgy masterpiece that perfectly embodies the raw energy and spirit of rock ‘n’ roll. The black base color sets a dark and dramatic tone, serving as the ideal backdrop for the intricate and rebellious artwork. Central to the design are the iconic Motörhead motifs, such as the Ace of Spades logo, which symbolizes the band’s legendary hit song, and the Overkill skull emblem, representing their enduring influence on heavy metal. These details immediately catch the eye, giving the tumbler a unique and unmistakable rock-inspired aesthetic.

The standout feature is the stained-glass-style portraits of Lemmy Kilmister, depicting the rock legend in saint-like imagery, holding a bass guitar or a bottle of Jack Daniels. These vibrant and intricate illustrations elevate the design, turning the tumbler into a tribute to Lemmy’s larger-than-life persona. Surrounding the portraits are details like spades, chains, and gothic crosses, which tie the design together while enhancing its edgy, rebellious vibe. The “Killed by Death” typography and other iconic phrases further amplify the band’s unmistakable style, making this tumbler a must-have for true fans.

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koplexsstudio · 7 months ago

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Namgo - Groovy Font

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hostpyters · 8 months ago

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Liquid Death is a unique beverage company that has gained popularity for its unconventional branding and approach to marketing water. The brand's primary product is mountain water sourced from the Alps, which is packaged in tallboy aluminum cans. Here is a detailed review of Liquid Death's features and functionalities: KEY FEATURES Product Offerings:Mountain Water: Liquid Death offers still and sparkling mountain water sourced from the Austrian Alps. The water is marketed as pure and naturally filtered through rock over time. Flavored Options: In addition to plain water, Liquid Death has introduced flavored sparkling waters, such as Severed Lime, Mango Chainsaw, and Berry It Alive.

Packaging:Aluminum Cans: The water is packaged in 16.9-ounce (500 ml) aluminum cans, which are recyclable and aim to reduce plastic waste. The cans are designed to resemble beer cans, adding to the brand’s edgy appeal. Eco-Friendly: By using aluminum cans, Liquid Death emphasizes sustainability and aims to combat plastic pollution in oceans and landfills.

Branding and Marketing:Unique Aesthetic: Liquid Death’s branding is heavily inspired by punk rock and heavy metal cultures, featuring bold and rebellious designs. The logo and packaging often include skulls and gothic typography. Humorous and Edgy Campaigns: The company’s marketing campaigns are known for their humor and edginess, including viral videos and unconventional advertisements that appeal to a younger demographic.

Sustainability Initiatives:Environmental Advocacy: Liquid Death actively promotes environmental sustainability and partners with organizations to clean up plastic waste and protect natural resources. Death to Plastic: The brand’s slogan, "Death to Plastic," reflects its commitment to reducing plastic usage and promoting aluminum as a more sustainable alternative.

Product Availability:Retail and Online Sales: Liquid Death is available through various retail partners, including major grocery chains and convenience stores, as well as through their online store. Subscription Service: Customers can subscribe to receive regular shipments of Liquid Death water, offering convenience and potential cost savings.

PROS Sustainability: The use of recyclable aluminum cans and the brand’s commitment to reducing plastic waste appeal to environmentally conscious consumers. Unique Branding: The distinctive and edgy branding sets Liquid Death apart from other water brands, attracting attention and building a loyal customer base. High-Quality Water: Sourced from the Austrian Alps, the water is marketed as pure and of high quality, appealing to consumers looking for premium water options. Convenient Packaging: The tallboy cans are portable and convenient for on-the-go hydration, and the packaging stands out visually. CONS Price Point: Liquid Death is positioned as a premium product, and its price point may be higher compared to other bottled waters, which could be a consideration for budget-conscious consumers. Niche Appeal: The heavy metal-inspired branding may not appeal to all demographics, potentially limiting its market reach. Perceived Gimmick: Some consumers might view the branding and marketing as gimmicky or over-the-top, potentially detracting from the product’s perceived quality.

Liquid Death is a bold and innovative entrant in the bottled water market, distinguished by its unique branding, commitment to sustainability, and high-quality water sourced from the Alps. The brand’s use of aluminum cans aligns with environmental goals and offers a practical, recyclable alternative to plastic bottles. While its edgy marketing and higher price point may not appeal to everyone, Liquid Death has successfully carved out a niche among younger, environmentally conscious consumers who appreciate its distinct approach. Overall, Liquid Death is a compelling choice for those seeking a premium, eco-friendly water option with a rebellious twist.

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