#humbylbee in the medow

[bumblecrisp]

today i listened to the head on the door - the cure!

i would like to say nice things about this album. i really would. but any positive sentiments it may have generated are utterly eclipsed by the pavlovian response of fear and revulsion provoked by the jaunty beat of “close to me”.

picture, if you will, the scene. it is approximately 2:37 pm on an unusually sunny winter afternoon. i am having a bad day, which is disheartening, and it is entirely my own fault, which is worse. all i want to do is go home and sit in bed eating takis and feeling sorry for myself. instead i have an engagement which i desperately do not want to attend, but i must.

the snow on the roof of the barn is melting, and periodically crashes down, sending the horses into an uproar. i am attempting to walk a horse named baxter, who is making his opinion of this very clear. i spin in a circle every couple steps to dodge as he repeatedly attempts to run me over. this is making me dizzy. my back hurts from shovelling shavings all day. i can feel a headache coming on. what, i wonder, might serve to lighten my spirit?

why, music of course! and since i so enjoyed disintegration, what better album to listen to than another by the cure. and so i put my phone in my back pocket, sidestep baxter’s charge, and begin listening to the head on the door.

it’s a fine way to pass the time, i muse as baxter chews murderously on his lead rope. and indeed my mood is lifted by the soft melodies which now float through the dusty arena air.

imagine, then, my shock and horror when an unskippable youtube advertisement begins playing.

i am a humble user of mozilla firefox. i possess adblockers on my devices, and have for some time. consequently, it has been several months since i have had the sad misfortune to encounter one of these malevolent beasts. i’m dazed. confused. the world spins around me. the cheerful tune continues to filter through my speaker, mocking me in its relentless positivity. baxter careens into my side, nearly knocking me over, but granting me a moment of blessed clarity: i am not using youtube.

ye gods. tell me this isn’t what i think it is. but the gods, dear reader, are not so kind. the unskippable ad… is a SONG.

my life flashes before my eyes. i am overcome with pure despair. were i not in public i should have fallen to my knees and clutched my hair in my hands and wept. WHY THE CURE WHY!? i want to scream. i know, logically, that the release of this album predates the creation of unskippable ads by several decades at least, but in my hysteria i cannot help but blame the cure for their unknowing transgression. another crash of snow from the roof and baxter nearly yanks my arm out of its socket.

at least it’s not an unskippable ad, i reassure myself. i can simply… skip it.

and that, gentle reader, is when i realize the depth of my folly. for i, fool that i was, had specified in my challenge rules that i would never skip a song. i am trapped — trapped in a prison of my own creation.

every rose has its thorn, however; there is a lesson to be learned from this tortuous ordeal. my harrowing experience with “close to me” was an unskippable ad for SALVATION! for FREEDOM! for the PATH of RIGHTEOUSNESS!

with this post, i liberate myself from the shackles which i bear! no more must i force myself to listen to music i don’t like. i have suffered as jesus on the cross, but now… i am free.

other than that the album was fine. 4/5

[bumblecrisp]

Recently I listened to The Bela Session - Bauhaus, Black Celebration - Depeche Mode, Этажи [Etazhi / Floors] - Молчат Дома [Molchat Doma / Houses Are Silent], Juju - Siouxsie and the Banshees, and The Red - Red Velvet!

The Bela Session— It’s extremely tempting to give this a perfect score just off the strength of “Bela Lugosi’s Dead”, but I must abstain. Because really, what is going on here? What’s with the ska??? It doesn’t know what it’s trying to be. 3/5

Black Celebration— This one was a bit of a mixed bag for me. There were a couple songs I adored (particularly “Black Celebration”, “A Question of Time”, “Stripped”) but several others were skips. I do very much appreciate the thematic consistency, though, and quality lyrics throughout. 3.5/5

Этажи— I didn’t come here for synthpop, I came here for bleak ass Russian chanting over liminal synth and gleefully excessive drum machines. “На дне" [Na dne / At the bottom] had me worried for a second, but it absolutely delivered. Love. 4.5/5

Juju— So so so so good. I love it. “Spellbound” is such a classic. “Arabian Knights” feels like a strange dream, full of that uneasiness where you’re certain it’s going to turn into a nightmare but it never quite does. Just fantastic. 5/5

The Red— Their red concepts are always a wee bit hit or miss for me, and some of the tracks on this album were a little too clunky for my taste. Also this could just be me but I swear “Time Slip” has the same… thing as “Boss” - NCT U so the whole time that was all I could think about. 3/5

[bumblecrisp]

today i listened to datura - boston manor, as well as “codeine” - daniel land & the modern painters on charlotte charlottan’s recommendation and “in the living room” - maggie rogers on roland sachermorte’s!

datura - as an individual song, “datura (dusk)” is unexciting, but as a part of a whole it’s extremely strong. a lot of the time albums just kind of abruptly start - this one invites you in, curls its finger, tells you what you’re going to hear. leads into “floodlights on the square” beautifully (the opening and ending of which remind me of “the cult” - kensuke ushio).

“foxglove” is a banger. the harsh guitar in the early chorus reminds me of the effect they use in horror movie trailers sometimes. “passenger” goes hard. feels classic in a way i can’t explain. the vocals in the chorus are a little “even flow” - pearl jam, which i quite like.

unpopular opinion apparently, but i really love “shelter from the rain”. it’s a real pearl, a moment of beauty and reflection amidst the grittiness. it’s just gorgeous, i love the ambience, and it isn’t out of place with the rest of the album either! it’s like city lights reflecting in a puddle at the crosswalk. ordinary beauty, you know? i think it’s really great and makes the transition into “inertia” much smoother.

i usually detest metal screams, but i actually really like their use here. i always appreciate when music makes me see things a different way. that said, i don’t think datura is particularly groundbreaking; but it is perfectly enjoyable nonetheless. 4/5

“codeine” - would you kill me if i said it reminded me of “clocks” - coldplay? they both have that sort of floating feeling. absolutely dreamy. like returning to your house but not coming home. heavy limbs and tired heart and you start crying and you don’t know why but it’s hot and hard in your throat. i love it. 5/5

“in the living room” - devastatingly real. very 2000s, kelly clarkson-esque. this song was made to be heard on the radio late at night when you’re driving home from a long day at work and you have to pull over on the side of the road to put your head in your hands and sob over the steering wheel from the weight of their absence. 4/5

[bumblecrisp]

This week I listened to Kaleidoscope - Siouxsie and the Banshees, Dawnrazor - Fields of the Nephilim, First and Last and Always - Sisters of Mercy, Broke with Expensive Taste - Azealia Banks, and Alligator Bites Never Heal - Doechii!

Kaleidoscope— One thing I will say about this album, it is excellent about matching compositional elements to subject matter. But in terms of pure musical enjoyment, I definitely prefer Juju. I don’t know, something about it was just so compelling, and Kaleidoscope lacks that something. I probably should have listened to the albums in order, because I think there’s a clear musical growth happening that I am unfortunately witnessing in reverse. Of course, there were plenty of songs I enjoyed here too. I particularly liked ��Christine”. 4/5

Dawnrazor— I never thought I’d like these sorts of growly vocals, but here we are. McCoy’s style is very metal, which would generally be a major turn-off for me, but having been sort of gently eased into it by Andrew Eldritch of Sisters of Mercy I find it much more tolerable. And the instrumentals are very gothic rock, quite lovely. As I’ve said before, I always appreciate when an album lets me see a musical element in a new light. It must be said, too, that I’m generally a sucker for steampunk. While Fields of the Nephilim are definitely more goth cowboy, there is some sort of proto-steampunk vibe going on which I just eat up. The flour-cocaine anecdote seals the deal. There isn’t a single track I don’t like. 4/5

First and Last and Always— I love “Marian - Version”. I adore it. It’s sooo… poetic, both in lyrics and the quality of the music. I don’t even know how to explain it. It’s just *mwah*. Chef’s kiss. I mean, I love all the songs on this record, but that one… ugh. So good. Please go listen to it. It calls to mind the first stanza of “I Put The Coffin Out To Sea” by Lisa Marie Basile - a poem, not a song. Very beautiful, very tragic. Eldritch’s voice is always lovely to the ears, but it’s especially haunting here. Like a siren-song, ironically. I could talk about this song all day - or try to talk about it, it’s difficult to verbalize the enormity of my feelings. The rest of the album is genuinely great too, but everything seems to pale in comparison. 4/5

Broke with Expensive Taste— Am I the only one who didn't know she spoke Spanish? Good for her. I really love when you can tell an artist had fun making the music, and despite her difficulty getting it released, you can tell she enjoyed its creation. It’s so fun; snappy, clever, and her flow is addictive. I adore “212”, of course, but I feel that “Yung Rapunxel” and “Miss Camaraderie” are (comparatively) underrated. And “Nude Beach a-Go-Go”? A musical number??? Adore. Fantastic. Amazing. And I don’t even like musicals! It’s just so camp, I’m utterly charmed. My only complaint, really, is that it feels more like a collection of unrelated songs that happened to be released together than a cohesive album. But then, it was designed more for radio and club play than a sit-down listen, so that’s understandable. 4/5

Alligator Bites Never Heal— I, like everyone else on the planet, adored “DENIAL IS A RIVER”. It’s so delightfully straightforward and honest, and I love the conversational structure. I really liked “WAIT” as well. It’s a brilliant representation of the frustration felt by young people fighting to advance their lives amidst the economic and political uncertainty of our times, constantly being advised by the older generations to take it easy: we don’t have the advantage of decades’ experience; from our perspective, to quote Joan Didion, every day is all there is… Or so I thought, until I saw that Doechii stated in an interview that the lyrics are intended completely unironically. Huh. Maybe I’m just particularly impatient. Apart from those, “CATFISH” and “NISSAN ALTIMA” are great fun, very 90s, and “Anxiety” is a bop. Doechii is nothing if not a hitmaker. Overall, the thing holding this album back for me personally is that is, at times, a little too honest. A few of the more comedic rhymes, while I’m sure they worked for some, ended up pulling me out of the music. But all in all, this is a very good album and an exceptionally strong rap debut. Her flow, playfulness, and unapologetic infusion of personality all speak to enormous potential. On a technical level, I’m impressed. (Then again, I’m nowhere near qualified to be making any of these judgements.) 4/5

[bumblecrisp]

Bumble’s Music Reviews Special Edition: Recommendon’tions

As you may recall, some time ago I began searching for songs that sound bad. Today I finally listened to the suggestions I received: “Yours is No Disgrace - Live at Academy of Music, New York, NY, 2/19/1972” - Yes; “Woodpecker No. 1” - Merzbow; “I Hate CD’s” - The Legendary Stardust Cowboy; Troll - James Ferraro; and Never Mind the Gap - Negative Øhio!

“Yours is No Disgrace - Live…” - Nominated by The Knight, who mentioned that her distaste for this song might be due to its contrast with the original recording, and yeah. This is a good song, and I haven’t listened to the original yet so I had nothing to be disappointed by. I thought it was quite a good performance, actually. Sorry. Song is a 4/5, recommendation 0/5.

“Woodpecker No. 1” - Nominated by The Hater, this is the clear winner. Is it enjoyable? Absolutely not. Is it good? I have no idea. It sounds like a robot hamster being tortured. I almost like it, in a way… but not quite. Song ?/5, recommendation 5/5.

“I Hate CD’s” - Nominated by The Unicorn. This song is so fucking stupid. I’m obsessed with it. I really thought surely it must be satire, but no. This is real. He doesn’t really sing so much as yell. Have you ever heard a trumpet mumble? You have now. Bruce Springsteen catches strays for no apparent reason. They threw in some vocal chopping, too, just for fun. The rhymes are… really something. This is art and I mean it.

The song does not fit the prompt, being extraordinarily enjoyable, but I can’t even be mad about it because I love it so much. I need everyone to listen to this. Song 5/5, recommendation 3/5. His cowboy boots have a lot of power, you guys. And I think he hates CDs.

Troll - Nominated by a friend of Neo’s. I actually quite like this. I can understand the thought process behind the nomination - songs like “Cyber Bile” have some discordant tones that most people would probably find unpleasant. But others, like “Bio Sewer”, are rather lovely. And I really like the choice to feature Miku! Conceptually fitting and well executed. EP 4/5, recommendation 3.5/5.

Never Mind the Gap - Nominated by Neo darlingdistantplaces. Now here’s a really fun one! It’s harsh, unfriendly, and, at least at the beginning, a little unpleasant - but not enough so to make me stop listening. Around the halfway point, though, I began to see the vision. I actually quite liked the frantic video-game energy of “Everybody Who Built the Carpal Tunnel Went Blind Afterwards. - Unisexy Mix”, and “Enema Nosebleed - Toxic Tuxedo Mix” and “127 Inches of Midi Dick” go hard.

Do I like it? Not exactly. Then again, digital hardcore was never going to be my thing. But I do think it’s very interesting - I would never think to combine sounds in this way - and genuinely really cool. Also the album cover goes hard. This is the queer art Megami wanted us to protect. Album 4/5, recommendation 4.5/5.

[bumblecrisp]

today i listened to it’s sorted - cheekface on @darlingdistantplaces’s recommendation :D

oh, this is interesting! it’s not something i would pick out on my own, which i appreciate. the talk-style lyrics are something i haven’t heard in a long time, it’s kind of nostalgic but also refreshing. it has an aura of nerdiness, if that makes sense - it’s very charming. i can see why you like it!

“plastic” has been stuck in my head all day. i quite liked “popular 2” and “life in a bag” as well. “i am continuing to do my thing” might have my favourite lyrics. “and their coffee overfloweth from their thrifted coffee mug” indeed.

it’s sorted makes no pretensions to grandeur; it is simple, conversational, simultaneously ironic and earnest. a real breath of fresh air. 4/5

[bumblecrisp]

today i listened to disintegration - the cure!

oh god. this album. i love “lovesong” - who doesn’t - and its siblings in disintegration more than live up to expectations. there isn’t a single track i don’t adore. plus im always weak for a good zither. (i don’t think they actually used one, it was probably a guitar with effects, but a guy can dream)

like oh. i’ve felt this way before. you know that sapphling post? that’s what this album sounds like. oughhhh it’s so good. it’s so lovely. melancholy and atmospheric, with lots of long spacious instrumental sections that i really enjoyed. it feels like slowly letting your head sink underwater, starting with just the back and letting it creep up your cheeks, over your eyes until it seals itself around the tip of your nose and presses you under. enveloping. encompassing. embraced by cool quietude.

i remember hearing that, when you drown, after the struggle ends there’s a strange euphoria. a sense of peace. death is welcome. that’s what this album is like. the thrashing violence is never there, but you can feel its echoes in your limbs, and you’re calm and at peace as you wait for your end.

it is beautiful. 5/5

[bumblecrisp]

i ended up being busy all day yesterday and not doing proper reviews for sunday’s albums so here’s a super quick summary of my thoughts. i’ll probably do full write ups at some point but in the meantime here’s this

windswept adan - ichiko aoba: dreamy, ethereal, gentle. reminded me of narnia & howl’s moving castle. just lovely. highly recommend. 5/5

the piper at the gates of dawn - pink floyd: great but made me very nervous lol i thought grimble crumble was gonna die for sure (“the gnome”). psychedelic and silly. i love you grimble crumble. 4.5/5

gnx - kendrick lamar: the problem with having already made good kid, m.a.a.d. city and to pimp a butterfly, two of the greatest albums of all time, is where the hell do you go from there? after reaching near-perfection, how do you get better? the album was good, but not as good as i was hoping. that said, “gloria” is gorgeous and i really want to talk about “reincarnated” when i get the time. 3.5/5

[bumblecrisp]

Today i listened to Fear of Music - Talking Heads (properly this time), Σ - REOL, and Trouble in Shangri-La - Stevie Nicks on @sachermorte’s recommendation! :D

“I Zimbra” is groovy. There’s no other word for it; this song grooves. The lyrics are nonsensical, the percussion is catchy, the quirks of the guitar draw you in. A little bit “Thela Hun Ginjeet” - King Crimson. My mother says she doesn’t hear it, but I swear “Cities” reminds me of “Our House” - Madness. There’s a similar sort of upbeat energy disguising a sense of urgency, not to mention the obvious overlap in subject matter. Regardless, I’m very fond of this song. Something about the lyrics is almost childish; it sounds like what turning 18 feels like. It’s very endearing. “Life During Wartime” has a similar effect, except, of course, it’s rather darker. That said it’s always the peanut butter lyric that jumps out at me. People should sing about peanut butter more often.

As was foreshadowed in “Memories Can’t Wait”, the record’s B-side is… strange. “Air” is strange. “Animals” is very strange. “Electric Guitar” is downright bizarre. It reminds me a little of “Elephant Talk” - King Crimson or “Joe the Lion” - David Bowie. (Sorry about the constant comparisons, but I find they’re useful.) The jagged rhythm and experimental guitar are off-putting, but deliberately so. If “I Zimbra” is the thesis for the A-side, “Drugs” is the perfect conclusion to the B-side. The atmosphere is dark and disturbing, calling to mind the dripping coldness of a damp cave deep underground, where every movement sends uncomfortably echoing reverberations over the stones and the sound of your own breathing fills your ears. It’s very unpleasant. I like it.

Fear of Music is a self-contradictory album. It’s certainly not so approachable as Remain in Light, but I rather like that about it. 3.5/5

Σ is one of a few products of れをる [reol]’s brief union with ギガ [giga] and お菊 [okiku]. (I’m extremely tempted to say more here but this is not actually a vocaloid album so it doesn’t matter and I will restrain myself.) For the purposes of this review ‘れをる’ refers to the vocalist and ‘REOL’ refers to the group as a collective. Previously, I only knew れをる from her writing credits in ギガP songs; this is my first time hearing her voice. It’s sharp, very diagonal, and dramatic with a little bit of rasp, sort of like nightcore HyunA, and I imagine it would be a similarly acquired taste for someone not acquainted with the style.

“VIP KID” is a strong opener: a bold, in-your-face banger with thrumming bass and stabby synthesizer. “宵々古今” [yoiyoi okon / Every Night, Every Age] reminds me of takamatt and かごめP [kagomeP]’s “トキヲ・ファンカ” [TOKIO FUNKA], which was released earlier the same year. Both songs are heavily influenced by the enka genre, incorporating the layered and heavily textured percussion, twanging string trills, and warbling kobushi vocals of traditional Japanese music into hypermodern electronica.

“コノヨ Loading…” [konoyo Loading / This Time Loading] is some golden bitpop work; ギガ would never be my first thought for the genre, which I always associate primarily with sasakure.UK, but he executes it well and れをる’s vocals lend the track a sort of bratty robotgirl charm. “404 Not Found” is a bit of a tonal departure from the rest of the record, but one I really like. It’s a melancholic ballad with a heavy brostep drop in the chorus. I’ve never been big into dubstep, but it really works here!

This album is extremely solid. Honestly, my only gripe with Σ is that it is extremely high-energy. To be fair, I am extremely low-energy, so this probably isn’t as much of a problem for other people, but by the time I finished listening to it, I was exhausted. Σ is fast-paced and presents something fresh with every song, maintaining thematic consistency despite considerable genre-hopping. 4/5

“Trouble in Shangri-La” is a masterpiece. I’m in love with this song. Earbuds don’t do it justice. In order to properly experience this - because believe me, it is an experience - you have to play it over a car speaker or something similar so the sound surrounds you, envelops you, thrums through you. It is really really good.

Three cheers for enunciation - I can actually evaluate lyrics this time around! “Sorcerer” was particularly lovely in that regard. Actually, Roland, it’s funny that you recommended Trouble in Shangri-La, given much of the album appears to be written about you. “Timeless in your finery”, no?

Aside from those, “Bombay Sapphires” was my other favourite. I’m not usually a bongo gal, but those were some good bongos. The instrumental itself conveys the imagery alluded to in the lyrics - the quiet song of the water, the ever-shifting waves, prismatic and pure. Actually, as I listen to it again, I quite like “Candlebright” too. It’s just the right balance of rock belladonna and desert rose, coy and coiling and extremely Stevie Nicks.

Unfortunately, I have spent the past six and a half months listening to country music of the lowest calibre (and I truly mean that, I have no problem with country but this is just Bad) against my will because I was too chicken to say no when my coworker asked if I liked it and now it's far too late to say anything. Consequently I’m afraid I’m having what I will freely admit is a kneejerk negative reaction to the clear country influences in this album. That being said, I can recognize that objectively they are good songs, and even if they weren’t the sheer magnificence of “Trouble in Shangri-La” alone would boost this album significantly. Trouble in Shangri-La is not quite a perfect record, but when it shines it dazzles. 4/5

[bumblecrisp]

today i listened to remain in light - talking heads & three of a perfect pair - king crimson 😁

remain in light was wonderful, i really really liked it. “once in a lifetime” sounded familiar, i think my parents must have played it before. “crosseyed and painless” was really good, and i loved “the overload”. the whole construction of the album was just excellent to be honest. the tone shift with “the overload” is well handled and it makes such a good end to the record. 5/5

three of a perfect pair was a lot more abstract than i usually go for, but it was really interesting. of the four king crimson albums ive listened to so far (in the court of the crimson king, discipline, red, and this one) it’s definitely my least favourite, but that’s not to say i didn’t like it. it has such a distinctive, cohesive sound, & it’s a really really good album even if it isn’t necessarily my thing exactly. my sister had played “sleepless” for me before, and it’s still my favourite off this record. it’s so so so good, i absolutely adore it. i did quite like “nuages” though! 4.5/5

[bumblecrisp]

Today I listened to Pornographic Messiah - Christian Death!

Was it interesting? Sure. Would I listen to it again? Probably not. But this album feels more like a statement than it does music. It’s just not the sort of thing you listen to, and the statement isn’t one I particularly care for.

...Maybe I’m being a little mean. “Weave My Spell” and “Sex Dwarf” are cool, I guess. And I did like “Out of Control” and “Die with You”. But mostly it’s just shock value, and that’s not enough. 2/5

[bumblecrisp]

Recently I listened to Violator - Depeche Mode!

This record has the same problem as Clics Modernos - it just doesn’t stick in my mind. I listen to new albums while I’m cleaning stalls, which is, to be clear, a brain-off activity. I have nothing to focus on but the music. And yet I have listened to Violator FIVE TIMES now (yes, really) and I still can’t remember a single song.

I know it’s widely considered their best work, but I’ve already devoted SIX HOURS trying to rate this stupid album and I am NOT going a seventh. At this point it just makes me mad. Clearly it wasn’t that great. I give up. 3/5

[bumblecrisp]

This week I listened to Floodland - Sisters of Mercy, In the Flat Field - Bauhaus, Mask - Bauhaus, and Substance - New Order!

Floodland— I can just tell I’m going to be really normal about them <- lying. The only track I didn’t love was “1959” - it was a pretty stark tonal and stylistic departure from the rest of the album. Apart from that, it’s dark, rich, and velvety, just lovely. 4.5/5

In the Flat Field— Just fantastic. Ever-varied and yet sonically consistent. I love everything about it. …Except for “Small Talk Stinks”, but I’m willing to look past that. 5/5

Mask— I LOVE this album. Seriously. “The Passion of Lovers” is an absolute classic, “Of Lilies and Remains” is genuinely brilliant work, “2. Peter Murphy” made me laugh out loud. Again with the ska jumpscare though... I forgive them. 5/5

Substance— I’m not as much into synthpop, so generally speaking this was less my thing. Those songs I really liked, though (“Ceremony”, “Blue Monday”, “Confusion”), I really liked. 3.5/5

[bumblecrisp]

Recently I listened to Living in Darkness - Agent Orange, Love Songs for the Chemical Generation - Daniel Land & The Modern Painters, Metak [Bullet]- Stoja, Picaresque - The Decembrists, and Posesivna [Possessive] - Milica Pavlović!

Living in Darkness— Perfectly fine, but for some reason left much less of an impression on me than the other hardcore records I’ve explored so far. 3.5/5

Love Songs for the Chemical Generation— Dreamy, ethereal, wistfully romantic. I can’t recommend it highly enough, it’s genuinely a transformative experience. Just exquisite. 5/5

Metak— Oh yeah baby, that’s some good old-fashioned turbo-folk. This one is perhaps a little more turbo and a little less folk. It’s just so fun. 4/5

Picaresque— The vocalist did take me a while to get used to, but the storytelling is fantastic and I really enjoy their commitment to the chamber element. “On the Bus Mall” is just beautiful. “We Both Go Down Together” reminds me a little of Tess of the d’Urbervilles, which is fun - I always enjoy a good literary reference, even if it’s only in my head. 4.5/5

Posesivna— Leans a bit too popstar for me to really get into it, I fear. I quite liked a couple songs; alas, the lackluster Saša Matić feature sealed its fate. 3/5

[bumblecrisp]

Recently I listened to Decompositions, Vol. 1 - Circle Takes the Square, Fe3O4: BREAK - NMIXX, GO生 [gosaeng / go live] - Stray Kids, The Hurting - Tears for Fears, and Još te sanjam [I still love you] - Đani!

Decompositions, Vol. 1— Recommended to me by my friend The Hater. You know what, I’ll say this: I appreciate the flow, the rhythm, the way it remains both consistent and varied. I certainly like the instrumental and compositional aspects of it more than I do most metal I’ve listened to. But I just can’t get behind the screaming! I’m sorry!!! I do think it’s interesting, just not my thing. 4/5

Fe3O4: Break— It’s fresh, it’s cool, it’s executed beautifully. I really like it. It’s always nice to see a group other than Red Velvet actually challenge their vocalists beyond “sing really high and loud”. 4.5/5

GO生— I realized I’ve never actually listened to this album straight through before and gave it a go. The main shock was the intro, actually - I had no idea “The Tortoise and the Hare” was an expansion on a previous track. That’s one of my favourite songs, so it was really weird to hear it (from my perspective) stripped down like this. Overall quite strong, but I think I still prefer IN生 by a slight margin. 4/5

The Hurting— My beloved. Bangers all the way through, though I confess I can never listen to the beginning of “Mad World” with a straight face. Accursed vine. 4.5/5

Još te sanjam— Deviates from the poppiness of Balkanac, which is fine, but I was really hoping I’d find another “Da Li Znaš”. Not as much my thing, but still very solid. 3.5/5

[bumblecrisp]

Recently Several months ago I listened to Attractive Museum - OSTER Project, Balkanac [Balkan] - Đani, Beat - King Crimson, Clics Modernos [Modern Clicks] - Charly García, and コインロッカーベイビー [Coin Locker Baby] - Maretu!

Attractive Museum— I love “on the rocks” and was hoping I’d find more in that sort of light swingy style. Instead I got a solid set of classic vocaloid material - perfectly fine, but not what I was looking for. 3.5/5

Balkanac— OBSESSED. I think I’ve listened to “Da Li Znaš” [Do You Know] a thousand times already. Really really really good. 5/5

Beat— Funky fresh. I’ve been told this is King Crimson’s poppiest album, which is very funny. Ah yes, “The Howler”, my favourite Top 40 tune. 4/5

Clics Modernos— Ironically, something about it just didn’t click for me. 4/5

コインロッカーベイビー— Maretu is probably my second favourite vocaloid producer after wowaka (rest in peace), and this is a really solid album. Maretu tends to toe the line of edgelord from time to time in terms of subject matter, but compositionally he never misses. 4/5