#humbylbee in the medow

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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

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today i listened to datura - boston manor, as well as “codeine” - daniel land & the modern painters on charlotte charlott2n’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

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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

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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

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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

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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

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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

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Yesterday I listened to Nonagon Infinity - King Gizzard & the Lizard Wizard, Lizard - King Crimson, and In echt [In Real Life] - Die Sterne [the Stars], which was recommended to me by my friend The Hater!

Nonagon Infinity - This album is absolutely fantastic from start to finish. It’s so good I don’t even know what to say. Easily one of my favourites I’ve listened to so far. 5/5

Lizard - I was initially a little wary of this album, which my sister described as “very proggy […] it sounds bad”, but Charlotte charlott2n said it’s her favourite King Crimson album and she’s never led me astray so far. And yeah, it’s excellent. It doesn’t sound bad, it sounds strange. It’s proggy! It’s silly! Where’s your whimsy?? Where’s your joie de vivre??? This album is fun! I really like it. 5/5

In echt - Okay this is really dumb but you know that vine… hang on

This album reminds me of that. They have the same energy - like, you can just tell they were having fun recording the music! It makes me happy. I wouldn’t say it super stands out to me, and it runs maybe a little long for my preference, but overall this record is very enjoyable. I like it a lot. 4/5

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today like a week ago i listened to a kékszakállú herceg vára [duke bluebeard’s castle] - béla bartók and группа крови [gruppa krovi / blood type] - кино [kino]!

a kékszakállú herceg vára - now, it’s worth prefacing this with the admission that i have never been a huge fan of opera (that said, i’ve never seen any live). when i briefly took singing lessons in high school, they always had me sing arias and whatnot from various operas because i have a good voice for it apparently. in retrospect, i wish i’d stuck with it, because how cool would that be? but at the time, i was very unenthused and it rather put me off the genre.

also, unfortunately for me, opera is both an auditory and a visual medium for storytelling. being as i lacked the latter component, and having failed to have read a synopsis beforehand, i was extremely confused upon first listening. intrigued, but confused. (later that night i watched a recorded performance, which was very enlightening.)

maybe i’m just communismpilled, but i am of the opinion that the narrative of a kékszakállú herceg vára is a pretty transparent representation of the violence and bloodshed inherent to the establishment & maintenance of a hierarchical state. the people are made fodder for endless wars, forced to toil in the fields that the wealthy might gorge themselves upon the land, to extract riches from the earth to be hoarded by the great dragon of the upper class; and then they are cast away, loved only in the abstract, praised for their sweet suffering as they wither softly in the night.

the third door stood out to me: the glimmering effect of the glockenspiel or whatever it is and the golden quality of the sound is so gorgeous. the sixth door, too, was very expressive. i adore the little woodwind flourishes, and the soft, expansive horn overlaid with ominous strings is just chef’s kiss. apart from a few moments of relative tranquility, the whole production is very bartókian; in fact, i think its auditory storytelling is hampered at times by its bartókishness. keeping in mind i’m largely unfamiliar with opera in general, and given i am technically only rating the sound-based part of it, i can’t say it enthralled me as much as i had hoped, though it did intrigue me enough to devote another hour of my time to understanding it properly. were i rating the opera as a whole including visuals, it would be higher. 3.5/5

группа крови - “группа крови” [gruppa krovi / blood type] is a very vibey track with some lovely bass. “закрой за мной дверь” [zakroy za mnoy dver' / close the door behind me] is absolutely fantastic. the guitar is compelling, the bass excellent, the lyrics simple yet poignant - i love it. probably my favourite song of theirs so far. “легенда” [legenda / legend] is dreamy, wistful, a solemn song about the beauty and horror of war. it’s a vessel, really, for the wonderful poetry of the lyrics:

Лишь потом кто-то долго не сможет забыть, [only later someone won’t forget for a long time]

Как, шатаясь, бойцы об траву вытирали мечи. [how, staggering, the soldiers wiped their swords on the grass]

И как хлопало крыльями чёрное племя ворон, [and how the black tribe of crows flapped their wings]

Как смеялось небо, а потом прикусило язык. [how the sky laughed, and then held its tongue]

И дрожала рука у того, кто остался жив, [and the hand of the survivor was shaking]

И внезапно в вечность вдруг превратился миг. [and suddenly a moment turned into an eternity]

oh it’s just lovely. lovely and awful and so very cold.

much like the last кино album i listened to, группа крови is composed of all good songs and a couple that just blow you out of the water. they have a knack for catchy instrumentals, but the vocals keep the tracks very somber and grounded. extremely solid with some fantastic highlights. 4/5

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today i listened to chill kill - red velvet!

“knock knock (who’s there?)” is absolutely classic red velvet. slightly spooky, fun, an all a round good time. “underwater” is a really lovely alt r&b track with echoey synths and gentle vocals, dreamy and strange. “one kiss” reminds me of something, but i can’t quite tell what - an older dreamcatcher track, maybe? it’s bold, slightly coquettish, and lightly vintage-flavoured with the clock-like tone of the instrumental. i adore “bulldozer” — it’s a little silly, to be sure, but red velvet’s signature harmonies in the chorus are addictive as ever and it’s just such a good time.

that said, apart from these four tracks the album just wasn’t that great. i love red velvet, i think they consistently put out some of the best music in the industry, and i know they can do better. it’s just lacklustre, missing that zest that usually makes their music great. not that it’s a bad album by any means - had any other group released it, i would have been quite content. but i expect more from red velvet. 3/5

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today i listened to звезда по имени солнце [zvezda po imeni solntsa / a star named sun] - кино [kino] and artpop - lady gaga! (well technically i also listened to fear of music - talking heads but i wasn’t paying attention so im not counting it lol)

“песня без слов” [pesnya bez slov / song without words] was very u2 - and startlingly 80s. i'm not sure why i found it startling, given that it is. you know. from the 80s. i guess i've been listening to so much live drumming recently that the classic canned roll soundbite took me by surprise. and the xylophone or whatever it is did make me giggle a little i won’t lie.

i quite enjoyed the faster pace and more upbeat energy of “место для шага вперёд” [mesto dlya shaga vperod / a place for a step forward], though lyrically it’s no more hopeful than any of the preceding tracks. i also liked “пачка сигарет” [pachka sigaret / pack of cigarettes], which is basically the opposite: sonically it’s sort of like if the doors performed, like, the world’s most depressing drinking song, except it’s actually vaguely happy-ish. well, no, still not happy, but slightly less filled with despair.

my primary impression of this album was that it was very grey and a little dull red like the colour of dried blood - which, upon reading the translated lyrics, seems quite accurate: they’re all terribly depressing. кино are, to be honest, exactly what you might imagine a soviet rock band to sound like.

звезда по имени солнце is… extremely russian. i'm trying to be more critical with my scores, and while i did like the album (particularly its second half) it just isn’t particularly interesting. 3/5

i’d never heard “aura” before, but it reminds me quite a lot of kesha’s “joyride”. of course, artpop came first by like ten years, and you can tell: kesha presented the concept much more cleanly. “g.u.y.” has been one of my favourite gaga songs for quite a while. it dazzles every single time. i'm not going to get into it because even though this blog is basically a public diary there are weirdly a lot of you and people seem to read these reviews, but suffice to say: she gets it.

“manicure” is… interesting. you can tell she had an idea in mind - or maybe it’s more accurate to say ideas. every section feels like it belongs to a different song. had she given each its own time, it might have made for a great couple of tracks. as it is, it’s just sort of weird. similarly, “artpop” tried slightly too hard with the art and not hard enough with the pop; it’s just slightly to the left of where it should be.

“swine” and “donatella” continue to go crazy hard. certified bangers. adore. i’ve never heard “fashion!” and “mary jane holland” before, but i like them. they’re nothing on the level of some of the other songs on this album, but definitely enjoyable. “dope” is actually impressively difficult to understand. usually i can get at least a line or two, but i don’t think i caught a single word she said. and “applause”, of course, my beloved, is a perfect end to the album. ugh i love this song so much.

artpop is far from perfect. some tracks have problems that i think could have been resolved quite easily, and others are skips entirely. but it also has a very solid set of absolute bangers and two of my absolute favourite songs ever to come out of electropop as a genre. i’ve gone back and forth on what rating to give it, and i'm settling with the law of averages. 4/5

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yesterday i listened to источник [istochnik / source] - эрика лундмоен [erika lundmoen]! here is my report as promised

there’s a certain vocal style which was big in pop a couple years ago. im sure it has a proper name, but i dont know it, and i can only describe it as a singer throwing their voice around. i’ve never been a fan, and while эрика лундмоен executes it better than most, it still grates on me in certain songs. she has a lovely texture to her voice, but it’s difficult to appreciate through the heavy stylization.

that said, there were a couple songs which i very much liked. “крыльями” [kryl'yami / with wings] has a smaller range, allowing for a more consistent sound that doesn’t involve as much voice-throwing. i also loved “яд” [yad / poison], of course. i think it was popular on tiktok a while back? it’s my favourite track on the record in terms of production, with a dark, moody instrumental that, it must be said, is extremely 2019. luckily i like 2019. “аутро” [outro] was a particularly strong bookend.

источник is not a lasting album, even by pop standards. it relies on tropes and trends that have already dated it heavily; that said, it is an enjoyable listen. the overall impression is of being in an unfamiliar city, alone, at night, and ducking down an alley in search of a friendly face, and instead finding a coiling mass of shadows peering back at you. and it looks at you, and you look at it, and one of you has to leave first. i like it. 4/5

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today i listened to strange days - the doors, songs from the big chair - tears for fears, and achtung baby - u2 (i had the speaker at work lol)

strange days was, unsurprisingly, great. i’m sure i’ve heard “people are strange” before, it’s such a captivating melody. “when the music’s over” is excellent. curiously, everyone that i’ve seen seems to hate “horse latitudes” - i love it!!!! does kind of seem like morrison was pulling words out of a hat, but the jarring quality of the lyrics ends up adding to the effect nicely. 5/5

i adore “everybody wants to rule the world”, and i swear i’ve heard “head over heels” somewhere before, but i’ve never encountered any other tears for fears songs in the wild. songs from the big chair is honestly way better than i expected it to be. bafflingly, “shout” is one of the highest rated tracks on the album - i thought it rather disappointing compared to the others. loved the saxophone. 4.5/5

i’ve never been nearly as big a u2 fan as my mum or sister, and achtung baby kind of just confirmed that for me. it’s not that i didn’t like it, i liked it just fine, it’s pleasant to listen to, it’s just… not really interesting to me, sorry!! a couple of the songs on this album commit the unforgivable sin of going on several minutes longer than they should have, and mostly i was just kind of bored 😖 the two songs that i’ve heard before, “the fly” and “mysterious ways”, were the only tracks that really stood out to me. i can appreciate it from an objective standpoint, it’s just not my thing! 4/5

p.s. i haven’t forgotten about your recommendations don’t worry i’m saving them for tomorrow so i can give them my undivided attention 😁

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today i listened to let it bleed - the rolling stones!

the problem with this album isn’t so much the songs themselves as the order. “gimme shelter” is SUCH a good song - one of the best of all time, in my opinion. you can’t start an album with that! things can only go downhill from there! there are some really solid tracks on this record - “monkey man” and “you can’t always get what you want” are both great - but you gotta put them first so they have a chance to be appreciated before being blasted into oblivion by “gimme shelter”.

the fix is so simple. just put “live with me” first, move “gimme shelter” to the end, and you have a fun bluesy album with a truly spectacular three-hit combo ending. instead let it bleed had me seething with rage on a wednesday morning. in the immortal words of my father’s fourth grade math teacher, this album “should do better,” but you can’t always get what you want. 3.5/5

[edit] after a few days my anger has faded and i’m revising my rating to a solid 4/5. although i still think this record is poorly constructed there are some really good songs and that’s got to count for something

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ok quick entry for the albums i listened to before i started recording lol

the doors - the doors— excellent. classic. no notes. 5/5

close to the edge - yes— i can’t believe no one told me about this. every second is incredible. masterpiece. 5/5

el jardín de los presentes - invisible— i don’t know how to describe it but it feels dry. now im not saying i want my music damp but this album could use some humidity does that make sense. LOVED alarma entre los ángeles though. 4/5

illmatic - nas— ridiculously good. 5/5

offline! - jpegmafia— experimental music is experimental. some songs i adored (“dikembe!”, “og!”), others not so much (“end credits”). even so the overall effect was very enjoyable. 4.5/5

(tumblr hates me so i’ll put the other two highlight songs in a reblog)

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ok revised tags are #i bomme for all music talk and #humbylbee in the medow for album reviews. #song of the day is the same lol