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lovejustforaday · 3 years

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Sonic Youth Albums Ranked (Part 1)

There are few indie/alternative bands that I’d argue are as challenging and engaging, or as formative as Sonic Youth.

From their early days as a radical no wave project, to their mid-career as a hard-hitting noise rock band, to their later years as a mellow indie band with prickly guitar tones, Sonic Youth has reinvented the concept of both the guitar and rock music in general again and again. They’ve probably made at least fifty or so never-before-heard noises with their instruments. Combining these sounds with lyrics that regularly explore disillusionment, nihilism, social transgression, pop culture, feminism, abstract thought, underground scenes, and outsider art — it’s safe to say that Sonic Youth have always gone against the grain.

The members of Sonic Youth are obviously all musicians, but they have also been iconoclasts, satirists, and poets throughout their careers, creating music that demolishes both the conventions of rock as well as the social pretensions of the conservative American lifestyle.

Each member of the main lineup contributes something fundamental to the band:

-Guitarist/vocalist/de-facto leader Thurston Moore, the no-fucks-given anti-rock star icon and visionary (albeit he’s kind of a smug twerp these days)

-Bassist/guitarist/vocalist Kim Gordon, the reserved but sharp-witted feminist and multi-disciplinary artist

-Guitarist/sometimes vocalist Lee Ranaldo, the revolutionary master of bizarre guitar tunings

-Drummer Steve Shelley, whose soft and shy demeanor masks a deliverer of precise, high-speed rhythmic anarchy

I could go on and gush about this band forever, but I’ve decided to settle for writing a big nerdy list all about how I feel each Sonic Youth album holds up when ranked. With 15 proper records in total, there is a lot to digest. Likewise, I highly encourage you if you haven’t already to go listen to some of these LPs for yourself and formulate your own opinions about one of the most fascinating bands to have ever existed. This list is really just my two cents.

Note: we will be focusing on the 15 full-length studio albums recorded under the name “Sonic Youth”. This list does not include the s/t debut EP, nor does it include the “Whitey Album” or the SYR series since those are best understood as separate side projects. This list is going to be long enough as it is anyway.

15. Rather Ripped (2006)

Main Genres: Indie Rock, Alternative Rock

A decent sampling of: Noise Rock

From any other band, this is a perfectly decent album with a few nice, gratifying guitar tones here and there. But as a Sonic Youth album, Rather Ripped sounds like the band is on auto-pilot. This is the band’s only album that to my ears sounds like it could’ve been written by any number of other alternative rock bands at the time. It just lacks a certain essential edge that their music usually has.

It really doesn’t help the case for this record that Thurston Moore began having an affair at this point in the career, and it is disgustingly present in the lyrics in hindsight, with the offensively titled “Sleeping Around” and possibly even “Incinerate” both probably taking inspiration from his dirty little secret.

I usually separate art from the artist to a certain degree, but in this case it really does kill part of the experience, because I can’t help but feel that Thurston is having a stupid little giggle to himself by hiding his affair in plain sight and it’s really just kind of pathetic. Kim Gordon is my favourite member of the band, and to me she’s the epitome of an extremely cool person, which only makes the whole thing worse. Seriously, quit bragging old man.

Speaking of “Incinerate”, I can confidently say that I think this is the band’s most overrated song. Certainly not their worst, but I really can’t fathom how so many people consistently put this up there with “Schizophrenia” or “The Diamond Sea” as one of Sonic Youth’s top five songs when it’s honestly just so...by the numbers.

That being said, Rather Ripped is not ‘bad’ per se, it’s mostly just that it really lacks something the band usually has, which makes the project feel a little soulless. Still, the record has its better moments. “Pink Stream” is rather ethereal sounding, which is pretty rare in the band’s discography given their usual penchant for the bombastic and ear-shattering, or the ominous and unsettling. “Turquoise Boy” is also a nice mellow track that probably could’ve fit in quite well as one of many solid tracks on A Thousand Leaves, albeit most of those tracks would still trounce this one.

Rather Ripped is all-around competent; it’s a pretty consistent listen and a decent enough beginner-level Sonic Youth album in terms of accessibility. But there’s just nothing about this album that really grabs me like literally any of their other LPs. There’s almost none of the band’s personality on this record (save perhaps Thurston’s inflated ego). Perhaps it is best to call it their “least interesting” album instead of their “worst”. Honestly, you could just skip this one and you probably wouldn’t miss much.

6/10

highlights: “Pink Stream”, “Turquoise Boy”

14. The Eternal (2009)

Main Genres: Indie Rock, Alternative Rock

A decent sampling of: Noise Rock

The Eternal is the last LP Sonic Youth put out as a band. With context, the record has somewhat of a somber feeling. Even its name ‘The Eternal’ seems to suggest that the band might’ve known that it would be their last record, as if the album could be at least partially a reflection on the band’s legacy that will eventually go on to outlive each member.

The band really does sound a little burnt out at multiple points on this record, particularly in terms of Thurston’s vocals which can be best described as sounding ‘exhausted’. Again, like Rather Ripped, the music is certainly competent and enjoyable, but it’s also noticeably less adventurous than on earlier LPs. The album is also a bit more sluggish than most of the band’s past work, feeling just about as long as Daydream Nation or Washing Machine despite being well over 10 minutes shorter than either of those LPs.

I’ll be perfectly honest: if it weren’t for “Massage The History”, this record probably wouldn’t be all that much better than Rather Ripped. Kim Gordon gets to have the very last words on the record with this grim and cryptic requiem about hers and Thurston’s relationship, indicating that she was at least partially aware at the time that the two of them were growing apart.

This would be the last album Sonic Youth put out before Kim became fully aware of Thurston’s affair with a younger woman, leading to her divorce and the band’s inevitable breakup. The song is honestly kind of painful to listen to for that reason, but it is also tragically and morbidly beautiful. “Massage The History” is chronologically the last track in the entire Sonic Youth discography which stretches across 15 LPs over the course of three decades, and it’s a very worthy swan song for the band, if also a bitter reminder that most things cannot last.

“Malibu Gas Station” is another standout, a nocturnal alternative rock jam that sounds very much like a track from the Sister-Daydream Nation-Goo era, and yet another example of Kim Gordon’s capabilities as a member of the band. Really, Kim basically carries this entire LP on her shoulders in terms of the lyrics and vocals.

Nevertheless, I like this record for what it represents if nothing else, and I would still say that it is a level above Rather Ripped thanks to the album closer, and more on par with the next couple of albums on this list. However, I would never recommend that anyone start their Sonic Youth journey with this LP. You can listen to their discography in just about any order you want to, but I’d highly recommend that you save this one for last. The Eternal is a mostly bittersweet experience that is best appreciated after hearing the rest of the band’s output.

7/10

highlights: “Massage The History”, “Malibu Gas Station”

13. Experimental Jet Set, Trash, And No Star (1994)

Main Genres: Noise Rock, Alternative Rock

A decent sampling of: Experimental Rock, Post-Punk

Experimental Jet Set, Trash, And No Star came right after the modest commercial success of Goo and Dirty, and I think you can hear on this LP that the band is reacting to that success by trying to resharpen some of the edges that were smoothed out by Butch Vig’s production on Dirty. Basically, this sounds rather like Dirty but less put-together, less consistent, and a lot more raw.

I appreciate that they wanted to do their own thing and challenge expectations again, and you can really tell that the band is mostly playing around on this record, but in this case I gotta say that the songwriting seems to suffer a little because of that.

The album starts off promising enough with two major highlights. First, there’s a rare acoustic offering with the lo-fi opener “Winner’s Blues”, the first of many tracks that would appear on later Sonic Youth LPs proving that Thurston’s vocals can actually be quite soothing. Then there’s the winding, topsy-turvy patterns of “Bull In The Heather” where lyrically Kim mocks the infantilization of women in her usual snarky, sing-talking fashion. Later on the record, there’s also “Bone” which has a very sinister, bluesy swagger to it that I really enjoy.

But everything else from here on out is kind of a mixed bag. The main setback really seems to be the track lengths; it’s actually pretty weird for a Sonic Youth album at this point in the band’s career to be full of songs that are mostly only two or three minutes long like they are on Experimental Jet Set, Trash, and No Star. That’s not inherently bad of course, but a lot of these tracks really only sound like ‘parts’ of a Sonic Youth song; some really good ideas, but largely underdeveloped.

Take “Starfield Road” for example, which takes a whole minute to build up this really cool and bizarre turbulent sound storm, and then Thurston starts singing over it for a couple of bars until it all sorta just stops abruptly. This track could work in theory if it was structured differently. “Mildred Pierce” off of Goo does something similar, but with that track there’s pay off at the end with the sudden wicked, destructive breakdown which catches you off guard, but here there’s simply no pay off for the listener.

Combine the lack of complete songwriting with the fact that this is actually one of the longest tracklistings on any Sonic Youth album at 14 tracks, and you get an album that feels like it’s bloated with lots of filler. Mind you, there’s still a lot of great little moments on this LP, but very few of them come together to make great songs. It’s an excellent sampler of just how many different ways Sonic Youth can play with a riff or make weird new static noises, but with regards to songwriting, Experimental Jet Set, Trash, and No Star feels more like a collection of demo tapes than a proper album. Still, there’s some cool energy on this record and I’d say it’s a worthwhile listen for any diehard fan.

7/10

highlights: “Bull In The Heather”, “Bone”, “Winner’s Blues”

12. NYC Ghosts & Flowers (2000)

Main Genres: Experimental Rock, Noise Rock, Art Rock

A decent sampling of: Post-Rock, Art Punk, Beat Poetry, No Wave

This is a good example of why we can’t have nice things. Somewhere between A Thousand Leaves and this record, Sonic Youth had most of their gear stolen by some jackass, which effectively meant pressing a hard reset button on the band’s sound for at least one album.

Likewise, a lot of people say that this is their worst record, and yeah I get why those people feel that way, but I actually like NYC Ghosts & Flowers for the fact that it forced the band to undergo yet another major sonic transformation. It‘s certainly more consistently interesting than Rather Ripped or The Eternal, just a very strange album in general, and for that it gets some extra points. I should also mention that this is the first of a couple of albums where the band collaborated with the acclaimed avant-garde artist Jim O’Rourke.

With lyrics influenced by the legendary mid-20th century ‘beat poetry’ scene born out of the band’s own New York City, this is the most 'abstract' Sonic Youth ever sounded. You can hear hints of the band’s no wave origins on this record, but with all of the crude chaos of those early LPs replaced with cerebral tension.

It’s also more sparse than any of their other studio albums, even more so than the dark and intangible Bad Moon Rising. Unfortunately, in this case that also leads to some tracks like “Nevermind (What Was It Anyway)” feeling somewhat empty, or perhaps sometimes too monotonous or repetitive without enough sonically gratifying moments.

But there are exceptions, and the middle portion of this album is where the new formula mostly thrives. “Small Flowers Crack Concrete” is vivid post-rock art poetry, not unlike a more noisy, sporadic version of some of the songs off of Slint’s beloved post-rock classic Spiderland. “Side2Side” is very aurally pleasing, with plinkety guitar staccatos and Kim’s voice hopping from one ear to the other like some kind of noise rock ASMR.

“StreamXSonik Subway” is a freaky little track that sounds calmly menacing, and I really like the high-pitch computer-y bloops. But then right after that there’s the seven and a half minute title track “NYC Ghosts & Flowers” which could probably give me a headache if I didn’t distract myself with something else while I was listening to it; truly maybe the worst track of the band’s entire discography if I was asked to pick one.

Overall, I’d say that NYC Ghosts & Flowers is a very artistic and fascinating experience in the moment, but I don’t really end up remembering much of it an hour or two after listening to the record. It just doesn’t really stay with me like some of their other records, and I don’t often feel the need to revisit this LP. I think Sonic Youth does the whole ‘sparseness' thing better when they’re aiming to sound vast, haunting, or nihilistic, as opposed to this kind of small, cerebral, sit-down-in-an-empty-room-and-listen experience which I personally find a bit more suited to other bands.

That being said, I applaud them for taking a lot of risks on this one, and I genuinely like NYC Ghosts & Flowers for the moments where it really does seem to be on the cusp of something groundbreaking. It's also a pretty polarizing record for most listeners, so maybe you’ll love it.

7/10

highlights: “Small Flowers Crack Concrete”, “Side2Side“, “StreamXSonik Subway”

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merzbow · 5 years

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Who are some of your fav non-white musicians? They are incredibly underrepresented and I really want to listen to and support more of them

oh my god, where to start? there’s so many and it’s all like, varying across a bunch of genres and some aren’t the most accessible but i’ll name the ones off the top of my head, some with description so you can decide who to listen to from what you think you might like.

The Mars Volta — progressive rock. one of my favorite bands of all time. almost everyone that played in TMV was/is non-white (and they had a lot). TMV was the Omar and Cedric show, but there would be no TMV without founding members Jon Theodore (one of my favorite drummers of all time) and the late Ikey Owens (who was their pianist). listen to De-loused in the Comatorium (2003) from beginning to end, and if you end up liking TMV, then work your way through their discography. it’s worth it.

At the Drive-In — post-hardcore, progressive. Omar and Cedric’s previous band. the most influential, and arguably the most important post-hardcore band of all time. every one except Jim Ward and his replacement is non-white. start with their third studio album Relationship of Command (2000), and if you have never heard their song One Armed Scissor, you absolutely have to.

Omar Rodríguez-López — progressive rock, indie pop, almost every genre under the sun. one of my favorite guitarists of all time. it’s impossible to condense his 49 album discography (and those are just solo albums) into a blurb so i’m not gonna try. afro Puerto-Rican. multi-instrumentalist (guitar, bass, to name a couple), producer, composer, songwriter, director. it’s easier to list the things Omar isn’t and hasn’t done.

Dance Gavin Dance — post-hardcore, progressive. DGD has a long, complicated history, but almost every album they have ever released is solid. their guitarist, founder, and honest-to-god visionary Will Swan is one of my favorite guitarists of all time. Will is black and latino (specifically half Mexican). i’ve been a fan since 2010. the best albums to start with are probably the last two latest releases which are Artificial Selection (2018) and Mothership (2016), but my personal favorite albums are Dance Gavin Dance (self-titled, 2008), Happiness (2009), and Acceptance Speech (2013)

the rest of the recommendations are under this read more bc this is long.

Hail the Sun — post-hardcore, progressive. Donovan Melero is one of my favorite drummers of all time, he’s also the front man/vocalist of HTS. He’s Latinx, specifically Mexican-American. Guitarist Aric Garcia is also Latinx. my favorite HTS album is Wake (2014), but their latest album Mental Knife (2018) is a good place to start.

Sianvar — progressive rock/post-hardcore. super group consisting of the previously mentioned favorites Will Swan (Dance Gavin Dance), Donovan Melero (Hail the Sun), and Sergio Medina (Stolas). they recently went on a indefinite hiatus/disbanded this year. they have one self titled EP released in 2014, and a studio album called Stay Lost (2016).

Secret Band — post-hardcore, progressive, on the heavy side. side-project/side-group of Will and the other DGD members, basically DGD without the clean vocals/singing.

Royal Coda — post-hardcore, progressive. super-group consisting of the (again) previously mentioned favorites Will Swan (Dance Gavin Dance), Donovan Melero (Hail the Sun), Sergio Medina (Stolas, Sianvar) and ex-Dance Gavin Dance singer Kurt Travis. definitely listen to Compassion (2019).

Frank Ocean — indie pop. probably the most popular artist i’ve mentioned, besides Earl, or DG, or Denzel. also probably my favorite singer of all time, also probably my favorite bisexual of all time. listen to Blond (2016).

Mitski —indie pop. Mitski is bisexual, Japanese-American woman. her music honestly means a lot to me, all the topics are so personally relatable as another bi asian girl. Puberty 2 (2016) is my favorite Mitski album.

Japanese Breakfast —indie pop. Michelle is a bisexual, Korean-American woman. listen to Psychopomp (2016).

FKA twigs—indie pop.Twigs is incredibly talented, if you like musicians like Kate Bush then she’s perfect for you; she makes incredible music and I couldn’t recommend MAGDALENE (2019) enough.

JPEGMAFIA — experimental rap. Peggy’s latest album All My Heroes Are Cornballs (2019) was released just recently (september 13!), while that’s a good album to start with i recommend starting with his second studio album Veteran (2018). favorite songs from Veteran to name a few are: Baby I’m Bleeding, I Cannot Fucking Wait Until Morrissey Dies, 1539 N. Calvert, and Rock N Roll is Dead.

Denzel Curry — experimental rap. start with Ta13oo/Taboo (2018), or ZUU (2019)

Danny Brown — experimental rap. start with either Atrocity Exhibition (2016) or XXX (2012), either way, you can’t go wrong.

Earl Sweatshirt — experimental rap. honestly, pick any of his three studio albums to listen to and you’re set, but Doris (2013) is probably the most accessible/easiest album to start with.

Death Grips — experimental rap. y’all already probably know who DG are and who Ride is, so i don’t have to introduce them/him. recommended: Exmilitary (2011), No Love Deep Web (2012), and The Money Store (2012).

Kero Kero Bonito — indie pop. Sarah Midori Perry, also known as Sarah Bonito, is British-Japanese. listen to Bonito Generation (2015)

Covet — math rock, instrumental. their front woman/guitarist, Yvette Young, is Chinese-American.

Stolas — post-hardcore, progressive. disbanded in 2018, still worth listening to. this is Sergio Medina’s original band, again if you ended up liking ATDI, or TMV, or DGD, you will absolutely love Stolas. Sergio is latino (specifically Mexican and Argentine), i absolutely love his guitar playing, he’s honestly so underrated.

honorable mentions, not necessarily my favorites but i do like and listen to these bands/artists/musicians.

Animals As Leaders — progressive metal, instrumental. there’s nothing about Tosin Abasi’s guitar playing i can say that thousand of others haven’t said before, he’s beyond amazing. Tosin is Nigerian-American, and AAL’s second guitarist Javier Reyes is latino. If you like heavy virtuoso/technical music like maybe, Dream Theater, then AAL is perfect for you.

Nova Charisma — progressive rock. this is Donovan and Sergio’s current side project, Nova Charisma is officially just a duo but their drummer is ex-Stolas drummer Carlo Marquez (who is close friends with both Donovan and Sergio). Nova Charisma is boneless TMV, and i mean that in a very good way (both Donovan and Sergio are heavily influenced by TMV and ATDI). that might change with future releases though, since they only have a three song EP out as of right now.

Periphery — progressive metal. guitarist and founder Misha Mansoor is insanely fucking talented. Misha is Indian-Mauritian.

Chon — progressive rock, instrumental. Mario Camarena, Nathan Camarena, and Esiah Camarena are all Mexican-American.

Polyphia — progressive rock, instrumental. Tim Henson, their guitarist, is half Chinese.

Trivium — early stuff is metalcore, current stuff is metalcore and thrash metal influenced american heavy metal Matt Heafy is Japanese-American, and does a mean James Hetfield impression if you’re into that.

popular/mainstream bands that have members of color and/or musicians of color that i also enjoy/love that you probably already know of:

Metallica (Metal/Thrash Metal. this one’s pretty obvious, since this is a Metallica blog… anyway, Kirk is Filipino (like me), and Rob is Mexican-American/latino.)

The Smashing Pumpkins (Rock. their guitarist, James Iha, is Japanese-American. you have to listen to Siamese Dream and Mellon Collie and the Infinite Sadness.)

Jimi Hendrix (Rock. Jimi is black, and the greatest guitarist of all time, duh, i don’t have to explain this one.)

John Coltrane (Jazz. the jazz GOAT. listen to A Love Supreme.)

Miles Davis (Jazz. Miles is the GOAT beside Coltrane, if you’ve never listened to Bitches Brew you absolutely have to.)

Rage Against The Machine (Rap metal. Tom Morello is black and Zach de la Rocha is latino.)

Deftones (Rock. Almost all of the band members are latino, with the exception of their first bassist who was Asian and a couple of others.)

Jane’s Addiction (Hard rock. Dave Navarro is latino.)

Soundgarden (Grunge. Kim Thayil is Indian.)

Alice In Chains (Grunge. William DuVall is black and Mike Inez is Filipino.)

My Chemical Romance (Pop-punk. Ray Toro is latino.)

Fall Out Boy (Pop-punk. Pete Wentz is black.)

Playboi Carti (Rap. Carti’s black. please listen to Die Lit.)

Megan Thee Stallion (Rap. Meg is absolutely lovable and supremely talented, and I absolutely adore her. steam her music!)

LAST UPDATED: August 7, 2020

#answered #anon #long post #i hope i'm somehow cohesive #i just wrote this hastily and published it as soon as i was done cus like if i didn't this wouldn't get answered.#i hope you end up liking an artist/band/musician i named here anon! tell me if you do and which! i'd love to hear about it.

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themousai · 5 years

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Gig Review: Auckland Will Be Laid To Waste - Penrose Underground [27/07/2019]

Saturday July 27th saw an absolutely stacked lineup of ten bands along with several dozen attendees pile themselves into the Penrose Underground, a rehearsal space and DIY venue for Auckland Will Be Laid to Waste. Downfall Productions now have a few shows like this one under their belt, and their ambition to deliver massive lineups in tiny venues leaves me excited for the future.

The show was MC’d by stalwarts of culture Real Slam Poetry, who offered their trademark guttural takes ranging from family relationships to excerpts from “Hot Rod” to a literal list of things to pack for a trip. Plus, can you name another band with branded vegan soap as merch? Didn’t think so.

Opening the afternoon was high school rock and metal band Strattera. I’m not going to lie, I knew very little about Strattera before seeing them play, besides that they took part in Smokefree Rockquest this year. Since then I have learned [a] how to pronounce their name, and [b] that this band RIPS. A blend of 90s rock and classic metal bands, it blows me away that bands at this age are playing original material at this calibre.

Even though their set was only four songs long, Strattera still made a solid impression via a combination of two things I think are sadly missing from New Zealand music; coordinated outfits and sweet, sweet guitar solos. Seriously, why do more bands not shred licks while all wearing the same colour?

It goes without saying, Strattera are not just good “for a high school band”. They’re just an excellent band full stop. If the up and coming generation of NZ musicians is half as tight as these guys, we have some incredible tunes coming. Watch this band take over.

For fans of Metallica, Rammestein and Smashing Pumpkins.

Next up came the delightful as always Melanie. It’s hard for me to imagine a hypothetical lineup on which Melanie wouldn’t be a highlight. If they’re on the bill, they’re one of the best bands on the bill. I’ve been lucky enough to catch the West Auckland grunge/punk outfit once before and this time round was just as joyous as the first. Infectiously catchy, bouncy and undeniably fun.

Even though they were second on the bill, I think Melanie actually drew the biggest crowd of the day, and weren’t afraid to jump in the mosh, guitars and all. Refreshingly, there is absolutely nothing to suggest that this band take themselves or their music too seriously.

Everything about their sound elicits a carefree, fun energy. Like skateboarding in the sun, or sitting with your toes in the sand, or staggering home after a night out with a smile on your face. Any chance you have to catch Melanie live, take it.

For fans of Pup, Bad Luck and Third Eye Blind.

The show then took a turn for the slam. Parasitic Infestation seem to have a formula for truly impressive live show. It seems like an obvious thing, but I said a silent prayer of thanks to the deathcore gods whenever Parasitic transitioned so seemlessly from blastbeats and slam riffs into a properly chunky breakdown, chugs and bends and all.

As such, Parasitic win the accolade of first pit of the day. Fun fact: vocalist Liam Hand is somewhat of a musical marvel. He has an ordinary human mouth, like anyone else. However, where mere mortals have a throat with a pair of lungs, Liam just has some kind of wormhole into the deepest, darkest pits of hell, producing the most guttural, ungodly sounds with almost no effort.

If any of your favourite genres include the word “brutal”, Parasitic Infestation will leave you wanting for nothing.

For fans of Ingested, Devourment and early Whitechapel.

Continuing and arguably stepping up the heaviness next up was Once Foretold. The first time I saw this band live, they introduced themselves by saying “we’re Once Foretold, we play djent”. And that is exactly what they do.

However, they go one step further into my good books by not falling into the traps that pervade the genre. Overly long spacey interlude tracks? None. Out of place sample tracks? Not here. Half tempo breakdowns so slow that they grind the show to a glacial pace? Nowhere to be heard.

Once Foretold seem to have distilled the best parts of the genre’s biggest names without getting mired in its clichés, and the crowd clearly appreciated it. The monstrous riffs, huge breakdowns and immense energy this band have to offer speaks for itself, with no frills.

For fans of Architects, After the Burial and Structures.

Following on from slam and djent came Chasing South. The oddly labelled “DIY punk” band [which I choose to think stands for “destroy it yourself” given their propensity for wrecking stages] have been putting in that work for almost a decade now. Anyone who’s been following the band all this time can attest to just how much of a niche Chasing South have carved themselves as the only band alive who sounds quite like them.

Drawing from post hardcore, metalcore, punk and mathcore in kind, the melting pot bubbles and fizzes with energy that the crowd immediately gravitated to, with a pit opening wide almost immediately. My favourite part of seeing this band perform is the mix of material their back catalog has to offer, from the bouncy singalongs to thrashy breakdowns to somber, melodic palate cleansers.

This band’s ability to move a crowd has never been more apparent, and with another album on the way I have no doubt audiences are in for treats aplenty. Extra points for covering Norma Jean’s “Sword In Mouth / Fire Eyes”.

For fans of Showbread, Every Time I Die and Touche Amore

Next up was capital city metalcore outfit Severed Beliefs. This is a passion project featuring members of Wellington bands Nailgun and Deadringer, playing a distinctly 90′s influenced mode of metalcore without being scared to experiment with everything the genre implies.

By definition, 90s metalcore is a mashup of scratchy and harsh with melodic and clean, artistic emotion with unfettered aggression. Severed Beliefs deliver on this in spades, and after releasing their self titled demo a few months back have made a clear statement of intent regarding the direction they hope to head.

Also, extra points for the evening’s second Norma Jean cover and the show’s namesake, “Memphis Will Be Laid to Waste”. There is no such thing as a bad Memphis Will Be Laid to Waste cover. Prove me wrong.

For fans of Renounced, 7 Angels 7 Plagues and early Misery Signals

Another personal highlight of the evening, Long Distance Runner are one of those hard-to-categorize bands to which no genre label seems to do complete justice. As a result, anything I say about them is likely to sell short the talent this band demonstrates mere moments into any set they perform. The emotion of post hardcore with the ridiculous pace and technicality of mathcore and even sprinklings of powerviolence create a sound specific to Long Distance Runner.

Their performance ebbed and flowed through blastbeats, droning guitars and wounded howling vocals combining in a wall of sound that you just want to smash your metaphorical head against. Having been fortunate enough to catch them a few times, I’ve noticed that there are almost never moshpits when Long Distance Runner play. Saturday was no different, with most of the audience stood rooted to the spot fixated on the frantic and beautifully abrasive performance, before the band suddenly stopped and exclaimed “here for a good time, not a long time”. Clearly I wasn’t the only one caught off guard and hoping for more. For fans of Pg. 99, Converge, and Baptists

Second to last on the bill came post hardcore and Neon Genesis fans REI. I’ll be the first to admit to having a massive soft spot for mid 2000s post hardcore. Lucky for me, the Auckland five piece have used it as a jumping off point to explore a more experimental and progressive sound than the genre suggests. Saturday’s performance reminded me why this band’s exploration of their distinct sound is so pleasing to both long-time fans of the genre and total newcomers alike.

Their songwriting relies on the best aspects of the genre without becoming generic or predictable. Something I found to distinguish this performance from the band’s previous ones was the vocal delivery being noticeably harsher and more aggressively delivered. You could put this down to the vocalist Lily, powerhouse that he is, having run the show all day and performed an earlier set on bass with Once Foretold.

Whatever the reason, this instance struck me as a more unique and personal performance from Rei and one I hope will be emulated in future.

For fans of Underoath, early Dance Gavin Dance and A Lot Like Birds

Closing out the evening to what remained of an exhausted crowd was five piece melodic hardcore sad boys Take Hold. This band has never really played at this end of bill, having mainly existed on opening slots since their first show late last year. One EP and maybe a dozen shows later, they’ve been hard at work honing their live show to balance heaviness and energy, all the while focusing on playing as fast and as tightly as possible. While most of their set consisted of the expected frantic punk beats and twosteps, the forays into heavier end of the spectrum went down well with the crowd, if the amount of crowd slaying is anything to go by. It’s good to see that a typically opening band can make an audience stick around till the very last act and make it worth their while. They closed their set with a new song, their heaviest to date and barely a minute long. Also, being the last band of the night, they were asked for an encore by maybe two people. They declined. They’d run out of songs.

For fans of Counterparts, Dead Swans and Carpathian.

Once again Lily Mou of Downfall Productions managed to organise and execute a massive showcase of New Zealand’s alternative talent. Ten bands on a single bill is almost begging for huge delays, technical difficulties and no-shows, and yet the crew succeeded in delivering an awesome gig for the all ages scene. Downfall have been going strength to strength with their big bill / small space shows, and I have no doubt there are huge things in store.

Review written by Jai Aronsen Photography by Andrew Cooksley + Mandie Hailwood

#auckland will be laid to waste #take hold #severed beliefs #rei #strattera #melanie #parasitic infestation #once foretold #long distance runner #real slam poetry #chasing south #andrew cooksley #jai aronsen

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jbonesy · 5 years

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Music of 2018

Top 10 Albums (No Particular Order)

Death Grips - Year of the Snitch

Even though it’s had some time to settle, I’m still not 100% sure where to place this album in Death Grips’s discography. Regardless, Death Grips continues to reinvent themselves more and more with every continuous album, and continues moreso to be more unpredictable than ever. The departure from their earlier hip hop sound and more toward experimental punk and rock suits them better than ever. While I’m a bit shaky on the predictability of the sound of some songs (Flies & Streaky notably), the songs of which do fall flat, I absolutely love the direction the majority of the album trends toward - songs like Death Grips is Online, Black Paint, and Dilemma perfectly embody the direction I’d hoped they’d go into after The Powers That B. Meanwhile, songs like The Fear and Little Richard continue to be as odd as ever - in the best way possible. My one complaint is that I’d wished they’d have departed a bit more from the predictable hip hop songs I’d mentioned above, but overall, the rest of the album is so great it’s hard to complain.

Car Seat Headrest - Twin Fantasy (Rerecording/Remaster)

Car Seat Headrest’s original Twin Fantasy is a kind of cult classic bandcamp album which garnered a lot of notoriety, so the 2018 reissue garnering just as much should be a surprise to no one. While it’s true that the original rough quality added to the charm and in the re-recording process certain elements of the original don’t have the same effect, the strengths of the album shine through regardless. What can I say about this album that hasn’t already been said? This is the best indie rock album about depressed gay furries on tumblr I’ve ever heard.

Teyana Taylor - K.T.S.E

The Kanye Wyoming sessions were definitely a spectacle at the time, and because of all the chaos surrounding the releases, and the incredible amount of hype that was generated during the time, KTSE was unfairly overshadowed by a lot of the other albums that came out at the end - and it being the last to release, further mucked by delays and technical problems, didn’t help its case. Listening to the album in full though, it’s pretty sad this was the case, but in my opinion it’s the best album to come out of the Wyoming sessions. It’s an amazing call back to Kanye’s ability to still sample soul, and some of the instrumentals took me right back to the early 2000s, like a time machine. Teyana Taylor might not be the strongest voice in R&B or the most well known, but her performance alongside these instrumentals is definitely something to be lauded. In addition, Gonna Love Me is one of my favorite songs of 2018.

IDLES - Joy as an Act of Resistance.

While I have to admit I’m not as hot on some of the social critiques this album delivers in its music, its done in a way that I can definitely appreciate it. That said, the music on this stuff itself is some of the best punk I’ve heard in forever - maybe this decade. There’s some points of contention in the bluntly direct, sometimes annoying lyrics , but overall, a lot of the politics can probably be seen as a callback to the roots of punk with a modern spin. That said, the instrumentation and vocal performances on this thing are great. As a punk fan at heart I have to say this if there’s one punk or rock album you listen to this year, it should probably be this one. It’s amazing.

Parquet Courts - Wide Awaaaaake!

Continuing on from the last entry above, Parquet Courts smashed it earlier in the year with this post-punk revival album. While post-punk may continue to be influential to a lot of artists, I admittedly haven’t heard a lot of straight up post-punk revivalism, especially not as enjoyable as this, in a long time. While the themes of the album are honestly pretty similar to the above album as well, this is probably the closest you’re gonna get to a Talking Heads or Joy Division album in 2018 - and damn is it good.

Hermit and the Recluse (Ka & Animoss) - Orpheus vs. the Sirens

Two darlings of the real hip hop underground link up for one of the best hip hop albums of the year - and probably the best written. Ka continues to push for his well deserved title of one of the best lyricists to ever enter the genre - which is near insane given his very underground status. A lot of the instrumentals on this thing perfectly suit Ka’s style - lots of looping, eclectic beats, with a hint of eeriness or vintage shine. There’s some soul-like samples mixed in as well for good measure, something I’d never complain about on a hip hop album. Ka’s writing is arguably some of the best in his career as well - which given his portfolio up until this point, is really saying something. His densely layered, metaphor and thematically driven calls to mythology and poetically-inspired style of rapping are the perfect complement to the instrumentals over this album.

J.I.D - DiCaprio 2

J.I.D is one of my favorite newcomers in hip hop, and definitely one of the acts in the genre I’m hopeful for the future - not that this is an uncommon opinion. At this point, he’s got cosigns in coming from every direction - enough that people are already calling him overrated - and he hasn’t even really gotten started yet. The Never Story was an interesting debut album when it came out last year - a case study in an eclectic hip hop album that manages to encapsulate much of the modern trends in the genre while also incorporating some fantastic rapping and some oddly enchanting music choices. DiCaprio 2 - in J.I.D’s own words - is not his magnum opus, or his GKMC - an album comparison common in those already comparing him to a young Kendrick Lamar (despite JID being almost 30, surprisingly). However, despite that, this is a fantastic album regardless; the rapping is some of the best of any newcomer to the genre. There’s punchlines and flows that make callbacks to Lil Wayne, and technical skill to match many currently lauded acts. It’s a great mix of technicality, fun, and skill. While not every song is perfect - Tiiied and Westbrook were a bit underwhelming in my opinion - when this album reaches highs, it reaches REALLY high. Songs like Off Da Zoinkys, Skrawberries, and Despacito Too to name a few are hints that J.I.D isn’t going anywhere anytime soon, and I’m certainly excited for his future.

MGMT - Little Dark Age

A lot of what I’ve heard from MGMT has been hit or miss for me, but their synth heavy album from earlier in the year is one of those times where when they hit with me, they really seem to hit heavy. The psychedelic vibes on this album are pretty entrancing, and while I can see the vocals as being love or hate, personally I’m a great fan of them on most of the songs. There’s a few low points where they feel a bit robotic - perhaps on purpose - but outside of those few grating moments, the album’s highs are too high for me to ignore otherwise. Mark it up as a win for psychedelic pop.

Pusha T - Daytona

As I said earlier, Kanye’s Wyoming sessions were one of the biggest music spectacles this year, especially for those in the hip hop genre. Combined with the massive hype circling Pusha T’s supposed release of King Push - an album up there with Detox and Doomstarks in probably never coming out - most hip hop fans were posted up for hours each night in anticipation of what would actually release (and what wouldn’t). While I can’t say I enjoyed this as much as KTSE, it’s still a great album regardless. The instrumentals are gritty and tight - there’s no room for mistakes, and there’s rarely any lows. Pusha raps as great as always, minus some slip ups with some poor or awkward lines. Overall, it’s a great album, but it’s short nature and lack of experimentation or boundary pushing leave a bit to be desired. Kanye’s fantastic production shines more than Pusha does at times - which isn’t necessarily a bad thing, but it never feels like Push really leaves his comfort zone; especially after hearing songs in the past like Lunch Money, it makes me wish he did. Regardless, I can’t really thrash this album; it’s a perfectly compressed hip hop album, and one of the best of the year.

Blood Orange - Negro Swan

Devonte Hynes, better known as Blood Orange, is one of those musicians I’m suprised we don’t hear more about. I have to admit - his voice can be a bit grating at times - but overall, it’s one of those albums whose highs far overshadow subjective lows like that. The instrumentation is varied and lush; overall, Hyne’s production is some of the best its ever been. There’s a nice dip in pop, r&b, hip hop, funk, and other genres throughout the album. While I may have said his voice can be grating at times, I will say when it works - it works. Songs like Charcoal Baby are great examples of his voice working in tandem beautifully with his instrumentals. There’s some great vocal performances on this, and again, I think there’s some amazing production. It’s also more impressive when you realize Hynes alone produced the vast majority of this album, along with singing on basically all the songs. Other complaints? I do wish he brought back Despot because Clipped On from Cupid Deluxe. is an amazing song.

Honorable Mentions / Albums I Found Interesting but not Amazing

Lil Peep - Come Over When You’re Sober Pt. 2

COWYS2 isn’t a perfect album. None of Lil Peep’s albums are perfect - his music has largely remained controversial; it seems to piss off both rock and hip hop fans.There’s a lot of complaints I’ve seen about this album - “it’s overproduced” seems to be the biggest one. Is it? Maybe. But man, this album appeals to my love of emo music like no album has in a long time. His writing might not the best, and the instrumentals might be a bit weak at times, but overall, as a posthumous album, you can only complain so much. It’s not perfect, but neither have any of his other albums been. For what it is - a mix of hip hop and early 2000s pop punk and emo - it’s great as it is. Runaway is one of my favorite songs of the year.

Lil Peep - Goth Angel Sinner EP (Unofficial Leak)

I was debating if I should include this at all since it’s technically unofficial, but given I included COWYS, I figured it was worth it. Peep’s death was an untimely shock, and while his music might not have always been the best, I think his interesting blend of music and notably recognizable voice was something he’ll be remembered for regardless. He was growing in his sound, moving away from hip hop and more into that musical sphere of punk and emo - and GAS is a sad hint at what could have been. It’s some of his best music by a wide margin, and it’s profoundly depressing that we’ll never see him at his true potential. RIP Peep.

Kids See Ghosts - Kids See Ghosts

One of the hipster darling albums of the year, I wasn’t as impressed as everyone else. It’s not bad by any means, but I didn’t think it was amazing. There are some great points the album - the production is pretty good throughout, and Cudi and Kanye both deliver some great performances, but overall, I feel like it fell a bit short. The 7 song length didn’t help either; unlike Daytona, it doesn’t feel as tight, and sometimes it sounds more muddy than anything. Cudi’s vocals can be a bit lazy at times as well, and some of the insistent repetition on the songs doesn’t work well in an album so incredibly short to begin with. All that said, it’s a good album - I don’t want to disparage it too much. It has some of Kanye’s best rapping in ages (regardless of whether he wrote it), and it’s a fun listen. Kids See Ghosts and Cudi Montage are my favorite songs.

Earl Sweatshirt - Some Rap Songs

Some Rap Songs is an album I’ve gone back and forth on quite a lot, which is impressive considering it’s barely been out as of writing this. It’s a short album, so I’ve managed to listen a few times, but even so, I’m torn on a lot of it. Earl’s writing is good, and some of the production is eclectic and interesting, but there are times the album dips in severe quality. Regardless of if it was intentional, the muddy (if not straight poor) mixing, lofi recording quality, and lack of variation are some of the few complaints I have on the album. It feels incredibly lazy at times - whether on purpose or not is a different question - but whether it “works” isn’t. There are some songs I do really like - I think Peanut and The Mint are some of the more interesting cuts, but songs like Nowhere2Go among others feel unimpressive, if not falling flat completely. If anything else, it’s an interesting listen, and especially emotional for those already fans of Earl.

Frank Ocean - ENDLESS (2018 Remaster/Reissue)

Frank Ocean is one of those artists who deserves the vast majority of his widespread acclaim. While his less than ideal music release schedule and mysterious public persona (or lack thereof) certainly play into that, his music really is what takes the trophy at the end of the day. When Endless originally released, Blonde definitely overshadowed it (and for good reason), but on its own, Endless still shines bright. The 2018 reissue adds a few new points to the album as well, which overall manage to improve it to a great degree. I was considering placing it in my top 10, but it felt unfair considering this album didn’t “really” come out in 2018, and the changes aren’t big enough to warrant considering it a new album. Still though, it deserved a mention.

Kero Kero Bonito - Time ‘n’ Place

I’m still a bit disappointed at KKB’s artistic choice to change their image and focus - it feels a bit cheap and insulting to some of their audience - but I can’t really disparage their music. While their artistic and musical growth seems more artificial and inorganic than anything, at the end of the day, it’s still growth. On its own, Time ‘n’ Place is a good album. It’s a good mix of their own brand of fun, experimentation, and genre hopping. While the pop fans they courted with their debut might still be disappointed, I did enjoy the album quite a lot, even if the aesthetic felt a bit annoying and - again - artificial. Taken on its own in isolation though, again, it’s a good album.

Anderson .Paak - Oxnard

There’s not a ton I can really say about Oxnard. It’s a good album. There’s a few points in which it falls flat, but even then, it’s not really bad. Okay, maybe except for the last song, which feels completely out of place. It’s no Malibu, no Yes Lawd!, and no Venice, but it’s a good album. Paak’s talent shines through no matter what. Dr. Dre’s influence really does shine through on this album though - it’s very reminiscent of some of Compton to me. I can see hardcore fans of Malibu or Yes Lawd not really liking this album, but the exploration of hip hop and funk more than r&b and soul really do suit Paak during a lot of this album. I say this as a massive fan of Malibu as well - it was one of my favorite albums of the year it came out. He’s branching out and experimenting, and it’s not a bad thing - especially when you look at his entire musical history. It’s worth checking out.

Leon Bridges - Good Thing

I haven’t seen his album talked about, like, basically anywhere. I’m surprised, because it’s a really good neo-soul album. It feels a bit repetitive at times, but the quality is consistent throughout. It’s an enjoyable listen if anything else. It’s not experimental, it’s not super varied, but it’s a tightly strung together, quality listen. The instrumentation is rich and catchy, the Leon’s vocals are great, and overall, much of the album is what I’d expect a neo-soul singer who isn’t D’Angelo in 2018. That said, there are a few weak points in the album where it’s a little week - and trends a bit more towards pop disappointingly, but the pure soul parts of the album are where Leon really shines the best.

Playboi Carti - Die Lit

Carti really can’t write music if his life depended on it, but he doesn’t need to. This thing, as a mainstream trap album, is weird. The instrumentals are odd, definitely not the type of thing you’d expect to hear on this type of album for the most part. They’re reminiscent of cloud rap at times, and at other times so incredibly minimal you can’t help but praise Carti for making the song still get stuck in your head. Overall, the instrumentals are entrancing, hazy, sometimes even bordering on possibly experimental. There’s a unique usage of samples that’s just instantly entrancing on a lot of these songs. That said, there’s still a lot of pop sensibilities, and these songs kind of water down the album a bit by departing from these aforementioned traits. It’s also just incredibly long at 19 songs; while this may work for some albums, for the type of music Carti is making, it kind of suffers from its length. Carti’s performances are the point of contention with most people. His writing is, again, basically nonexistent. Still, he manages to somehow steal the show over the production on a lot of this album. Whether it’s just his excessive usage of adlib ridden, partially lazy flows, or half-sung, half-slurred delivery, he just manages to carry a charisma that’s hard to ignore - even when he is saying literally nothing. It’s catchy, and in this type of music, that’s what matters. For hip hop fans especially, it’s an interesting listen.

Biggest Disappointments & Least Favorite/Worst Albums (No Particular Order)

Kanye West - Ye

I’m a massive kanye fan, and I recognize that a lot of his more recent work can be panned a bit before growing into place. Yeezus and TLOP were two albums which were more growers than straight out the pan classics or similar. Ye, however, is no TLOP or Yeezus. It’s disappointing because a lot of good music came out of the Wyoming sessions, but for as much of a spectacle as it was, its centerpiece really fell flat. There’s some good songs on it - I really do like No Mistakes for example. Overall though? It’s length does it no favors, and at the end of the day, most of the album is incredibly medicore - which is exemplified even further by the fact that it’s Kanye producing it. Certain songs like Violet Crimes, which were at least meaningful, completely lose their meaning once you realize Kanye didn’t even write them, or given his recent associations with certain people, even mean the words written for them. It’s a mess, but not the good type of mess like TLOP. It’s just a mess.

Nas - Nasir

It’s a throw up between this and Ye for what’s the worse album out of the Wyoming sessions. I mean, in the very least, at least Kanye brought his efforts to this record. The production is honestly not bad, and at times, pretty unique. Cops Shot the Kid is a pretty good song, albeit a little bit annoying because of the repetition. The real problem with this album? Nas. For someone with such a reputation for being a legendary rapper - I mean, he wrote Illmatic - what the hell is this? It sounds like he put this together on the taxi on the way to the livestream release party (which unsurprisingly, didn’t even work). Even beyond, the uh, downright insane anti-vax and 5%-er conspiracy shit on the first song, the writing’s just straight up lazy, and Nas sounds like he couldn’t care less. It’s hard to believe a Nas and Kanye collaboration turned out this awful, but here we are.

Denzel Curry - Taboo/Ta13oo

I know people are going to kill me for putting this on the list, but I have to be completely honest. I really like Denzel Curry, and I’ve been cheering for him since before he even made Ultimate. I’ve known him since he was on Raider Klan and working with LUM on Twistin’. I really like him and his music, which is why I’m so disappointed by this album. It’s not as bad as a lot of the other stuff in this list, but it’s not really that good either. Coming off of his last few projects, it feels like a massive step down, and a failure to utilize his best skills while, for the most of the project, capitalizing instead on most of his weaknesses.I won’t say it’s a bad album, but it falls short of expectations. His lyricism is incredibly weak, and when doing a supposed concept album, that’s pretty important. His rapping - and conveying the concept - is subpar at best. He has some good tracks on this, but not enough that it overpowers the vast amount of mediocrity on it. Denzel isn’t a super impressive singer, and he overdoes it a bit with considering this one of his strengths. There’s a lot of boring songs that say very little but masquerade as being deeper than they actually are. There are lots of instrumental choices that destroy the replayability of otherwise good songs too - for example, the high pitched background noise and odd gargling/scratching on Sirens. Overall? It’s not as bad as other albums on this list, but I’m incredibly disappointed with it. Probably the most overrated album of 2018.

Gorillaz - The Now Now

Not sure what to say about this other than it’s about 40 minutes of mediocre, forgettable electropop and synth funk. It’s uh, better than Humanz at least I guess.

Princess Nokia - A Girl Cried Red

Oh my god, Princess Nokia, why? I love your music, and you were one of my favorite artists to be recently receiving more acclaim - definitely one of the best upcoming women in hip hop too. But this is...awful. I mean, I get it. It’s a fun side-step project that calls back to her roots as a goth kid, something that’d been prevalent in her music. I like emo a lot myself, as I’ve said earlier, but this is just straight up bad. I hope she had fun making it, because I didn’t have any fun listening to it. It takes the absolute worst parts of Lil Peep’s music and exaggerates it; the emo-inspired instrumentals are cheap and unimpressive, and her singing is...awful. It’s like, parody level of bad. Incredibly unpleasant and grating to listen to, and her lyrics are parody level as well, which I assume is at least purposeful. Might honestly be in the running for not just one the most disappointing albums, but one of the worst in general this year.

J. Cole - KOD

J. Cole is a skilled rapper and producer who’s really overrated in social media and music spheres. While I’m glad it’s gotten a bit better, I have to say, the album he put out altogether this year is pretty unimpressive. I’m happy he’s trying a bit better to be accessible, but it’s just not a great attempt at what it could be. His rapping is still pretty good, and I’m glad he’s trying to reach out and make a bit more “accessible” music, but I think a lot his attempts at things on this album fall flat. The production is subdued and forgettable, which can be alright, but combined with his repeated use of repetitive, uninteresting hooks and little progression in each song, it’s just an overall forgettable album. It’s sad, because he touches on some important topics on the album, but it’s just not that well done - and not nearly as profound as J Cole himself seems to think it is. It’s also a step down from 4 Your Eyez Only, which was already quite polarizing. He took the worst parts of that album and carried them to this, while not having the rest of the elements of the album be strong enough to really carry it. Props to J. Cole for his amazing run of features this year though.

A$AP Rocky - TESTING

Testing sounds like what someone who’s never listened to anything experimental would think experimental sounds like. It’s the type of hollow artsy album whose sole artistic merit is constantly reminding you how artsy it thinks it is. There are some decent tracks on here, it’s not awful or anything, but god, it’s just so mediocre. Nothing on here is really memorable; tracks come and go, and features seem incredibly tacked on at times, such as FKA twigs on Fukk Sleep. Rock has flow, but he’s just such a mediocre rapper still. It’s a bit of a mess, and again, not the good type. There are a few good tracks, and a few catchy moments, but with the wait and rollout leading up to this, I can say none of the hype was worth it.

6ix9ine - Dummy Boy

One of most controversial figures in modern music abandons the style he embraced along his come up to further embrace watered down pop music. There are a lot of features, and some of them are good, and some of them aren’t. It’s a compilation of singles made to chart, and any listener can tell on one listen. Sometimes it’s fun, and sometimes it’s downright awful. Did I really expect anything else? Well, I liked a lot of his pre-fame music to be honest, back when he was still signed to FCK THM and repping Scumgang. Stuff like Yokai for example. Unfortunately, this album just isn’t good at all. Formulaic, drab, and watered down pop rap with little identity or variation; and when it does vary - see the latin trap songs - it’s beyond horrible. Sad!

JPEGMAFIA - Veteran

Not gonna say this is the worst album in the world or a necessarily bad album or anything, but it doesn’t deserve the hype. It’s experimental, sure, and impressive at times, sure, but it’s one of those albums which people say they love to appear a certain way more than they actually will ever listen to it. I know peggy couldn’t give a shit what I or anyone else has to say about his music or his messages, and all the more power to him; even though I disagree, I respect it .That all said, I appreciate experimentation, and some songs are okay, but I’m never listening to this again.

Travis Scott - Astroworld

Rodeo-era Travis Scott is never coming back, and that’s a hard thing to deal with. The album has some highs - Stop Trying to Be God is great for example - but its lows are quite low. Again, it’s not a bad album by any means, but when Rodeo is in your discography...meh. It feels like album release schedule is a Fibonacci sequence, because this album is a collage of his last two - Rodeo and Birds In The Trap Sing McKnight. There’s some impressive directing and musical choices on this, but a lot of that super hollow pop sensibility and pop musical direction of the latter shines through as well. Artists grow, and as Travis has gotten bigger, he’s trying his best to keep his entire audience satisfied. With hits like Sicko Mode doing so well, he’s accomplished that. I can’t really sit here and disparage him in full for doing that, but I also can’t lie and say this album wasn’t a little disappointing knowing what highs he could reach if he wanted to.

Yung Lean - Poison Ivy

I love Yung Lean and will defend him and his music no matter what, but this isn’t one of his better ventures. Coming off of Stranger, Lean showed immense growth and experimentation in one of his best and most personal albums yet. He had a few singles in between that and this which were alright, a bit more reminiscent of Draingang and Bladee’s work. When I saw the album cover for this, I assumed it would be in the direction of his punk band, Dod Mark, maybe with a mix of elements from Stranger. Unfortunately, Poison Ivy falls flat on that. It feels like a massive step back for Lean stylistically, especially given he just released one of his best albums prior. The production is pretty great though on its own, just not really in greater context. It’s more of a Draingang-styled album, which is a niche I’m not a massive fan of comparatively. I’ll still be looking forward to his next album though.

Lil Wayne - Tha Carter V

This isn’t a bad album, and before anyone says anything, I’m not a hater of Lil Wayne. In fact, I think there’s an argument for him being one of the best rappers to exist in the genre. That said, the album’s massive wait and hype just wasn’t worth it. People really didn’t know what to expect, and the massive saga that lead up to this couldn’t possibly have met expectations. The music is from an older era, and on a lot of it, you can really tell. Wayne’s rapping is pretty fantastic, and his punchlines and verses are on point as usual. He isn’t really the problem as much as the rest of the album is; dated production, hooks, and features are just a few of the problems I found on the album. It’s a bit sad that this came and went with such an air of general mediocrity around it, because after the saga and the all the shit Wayne went through, he deserved better. Again though, there’s no way this could have met expectations, so in a vacuum - it’s a good album. If this has released when it was originally supposed to years ago, it’d probably be amazing. It’s just in the current musical climate, it feels out of place and dated.

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chorusfm · 6 years

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Alkaline Trio – Is This Thing Cursed?

This first impression was originally posted as a live blog for supporters in our forums on August 29th, 2018. I’ve decided to make it free to all users of the website. First impressions are meant to be quick, fun, initial impressions on an album or release as I listen to it for the first time. It’s a running commentary written while listening to an album — not a review. More like a diary of thoughts. This post has been lightly edited for structure and flow. I figured with the album coming out on Friday this was really the last time I had to try and get some early thoughts down on this album for everyone before you’ll be able to hear it. Hell, there’s always the chance this leaks while I’m typing this up. Then everyone can join in with me. At a high-level, this album works for me more than any of their albums have since Crimson. I’ve liked the stuff that followed, but it never really captured that same magic as their earlier work. I would find myself listening to them for a few weeks (with the exception of This Addiction, which never really grabbed me), but after that, when I wanted an Alkaline Trio fix, I’d go back to Crimson or something before it. That’s just how it played out for me. I can’t predict with certainty that this is going to be an album I come back to in the future, but there’s something about it that hits me just right and gives me that feeling. There’s an energy here, a feeling of immediacy that they touched on with My Shame is True, but feels much more rolled into a “classic” Alkaline Trio-sounding album. This urgency to the songs is really resonating with me at the moment. There’s some stuff I don��t love, and I’ll touch on that as I go through the album, but the good definitely outweighs the bad. As always, I reserve the right to change my mind in the future, this isn’t really a review as much as it is just me listening to the album, writing some thoughts down, and speaking off the cuff about what I like, don’t like, and the over all impression the album gives me. Feel free to jump in either nor or later with questions or anything you’d like to know more on, I can always expand and offer more thoughts and such. Is This Thing Cursed? 2:28pmThe album begins with three songs you all have probably heard by now. Which always makes something like this a little funny, because we’re waiting like 15 minutes until we get to some new material. So, I’m going to be brief on the first three for that reason. The main thing about this song is that I think it’s a really great opener for the album. Not only does it give you a feel for where the album as a whole is going, similar sounds/melodies/pacing, I think that it sets up the theme of the album (duh, it’s the title track) in a way that sets the mood for where we go from there. Blackbird 2:33pmWhen I first heard this song I was like “holy shit, yes, Alk3 are back,” and I really liked the energy it brought. It kinda reminded me of a more modern “Private Eye.” It made me remember that I loved this band in the early 2000s, and a little sad that I hadn’t spent as much time with them in the past 10 years as I maybe should had, or wanted to. With that said, I’ve now decided I think this isn’t one of my favorite songs on the album. I don’t dislike it, it’s just that we’re blessed with better. What this does do for those that have heard the album is give a good indication on the production style. The album has this raw feel, it gets a little muddy sometimes, but, to my ears, I like how it sounds. I think this is what a lot of people want a “rock” album to sound like in 2018. You hear the guitars. Vocals are turned up. It’s compressed, but in a familiar way, and there’s not a whole lot of extraneous stuff going on. Demon and Division 2:37pmThis is one of my favorites from the album. That melody excites me. I love that it walks between this little mid-tempo place and a killer chorus. It’s really right in line with the kinda music I want from this band. It’s dark and yet secretly really catchy. That’s the thing with Alkaline Trio, they go to some dark places, but they have to walk it in a way where it doesn’t feel so over the top that you roll your eyes. When they do that well, it’s what elevates them above all the copy-cats. The lyrics and how either of the two singers emotes is such a key ingredient to this band. Little Help 2:42pmThis is my least favorite song on the album. It reminds me of something that could have been on the previous album, with a fast punk-rock sort of sound. Throwback to the 80s and dive bars. But, if I had to cut one song, it would be this one. It doesn’t feel like it fits in with the rest of the album. It feels out of place to me on subsequent listens. I think that’s because I know what I’d consider “better” songs are coming. But, it may also be that the repeated refrain, “does anyone know where I can go get high?” — while catchy and very Social Distortion sounding — doesn’t do much for me. Dan sounds good though. I like Matt’s background vocals too. I like that the band lets both of them shine on this album. They’re used together in enough of the songs that for the first time I actually have trouble hearing/remembering/picking out who is singing what. It’s not as “here’s Dan’s song, and here’s Matt’s song” as it has been in the past. I like that. It leads to a really cohesive album in that regard. I Can’t Believe 2:46pmThat little rolling guitar and drum intro is just classic Trio to me. It reminds me of the first time I heard From Here to Infirmary, and it felt familiar, but in a new unique way. “I can’t believe, anything that you’re saying to me, I just can’t see how you ever dreamed this was for the best…” 2:50pm “I just don’t see how the fuck you could ever thing that I’d agree.” Heh. Some good Matt being Matt lyrics on this one. Earlier, after one listen to this album, I said that it felt like a pop-punk album for 30 year olds. To me that’s from something like this next stretch of songs. There’s an underlying pop-punk/rock sound to the music, but it’s got a clear bend away from what we’ve seen Sum 41, Blink, and Green Day do with their past few albums. “Nothing to see here, move along … nobody to hear your black swan song.” Sweet Vampires 2:59pmThis has become one of my stand-out favorites on the album. I could see it becoming one of my favorites in the band’s discography with time as well. To me, this is what I’ve wanted the band to play with more since Crimson. I wouldn’t call it an experimental song, but I would say that it gets to do more than a lot of the others. It opens with a nice little guitar riff. And the opening melody gets stuck in my head in the same way something like “This Could Be Love” becomes so damn hummable. “I was the live fast, car crash, Mulholland Drive, open the flood gates, this love hate(?) is making me cry, the tears feel the tug of the blood from your wrists that night. If we should live forever, like sweet vampires … ” 3:02pmThe bridge is great. Really love the use of vocals and the lyrics are pure spite. 3:05pm”If we should live forever, like sweet vampires/we could reign together, our own empire/now we should try to sever all our past ties.” I can picture this being sung by a lot of people in complete seriousness, and I kinda love it. That’s what I’m talking about when I talk about the Alkaline Trio melodrama, and the ability to use what some could call silly lyrics — we’re talking about vampires here — but when they wrap it in a catchy package and sing with sincerity, it works even when it probably shouldn’t. And that’s the definitive Alkaline Trio to me. Pale Blue Ribbon 3:06pmGreat gym song. Fast and a toe tapping ditty. Dan at the front again. 3:07pm”We’re supposed to bleed sometimes, we’ll make these scars together.” 3:08pmThis one goes by fast. Barely two minutes. Goodbye Fire Island 3:07pmI can’t hear this song and not think about the Fyre Festival. 3:08pmAnother song that gives me Good Mourning/Crimson vibes. Where they come in strong with the guitars, then pull back, just a little, to calmly deliver the lines. 3:10pm”Dowse my house in gasoline, strike a match and walk a…wayyyyy…yeah.” I love the little “hey yah” part in the chorus. Great chorus. “Ocean filled with plastic bottles … heyyyyyy yah … and tidal waves will wash us all away. Wash us all awayyyyyyy.” 3:11pm”Feed me pills and happy meals.” 3:12pmGood song is good. Stay 3:16pmThis is a slower, confessional, song. But, it’s also become one of my favorites. I wasn’t sure how I felt about it at first, but it grew on me more than almost any other. The main theme of the song makes me think of a few things in my personal life that I’m … well … I’m glad it doesn’t resonate on that level right now, that’s for sure. “We could never break up, so I’ll love you to death, the man I’ve become was so comfortably dumb.” 3:18pm”Let’s take another day to call it quits and walk away, let’s find some other time to break down.” 3:19pm(PSA: Leave bad and toxic relationships. Heh.) Heart Attacks 3:22pmSince the album leaked in the middle of this (man, what a weird prediction to have come true), I’m gonna speed through the next couple before I head to the gym, then I’ll come back and we can talk more about the album after people have spun it once or twice. This track reminds me of From Here to Infirmary. Worn So Thin 3:23pm I think this should have replaced “Little Help” earlier in the track listing. I think it works a whole lot better and fits the same vibe that that song was going for. Throw Me to the Lions 3:24pmThe kind of song that Alkaline Trio seems to be able to write in their sleep. They’ve done songs like this before. They’ve done a few better, quite a lot worse. Matt’s lyrics shine. Krystalline 3:26pmI think this is the best song on the record. I’ve fallen more for it every time I hear it. I think anyone that’s ever been in any kind of relationship can smile at this one. “Kissed away our memories, fucked away the pain, went out for some coffee, and then we did it all again.” 3:29pmThe track ends and we get some fun little noises to close out the album. There’s just something so simple about the song, and the relatable lyrics, that close off the album so perfectly. A perfectly relatable, sing-a-long-able, song. Can’t really ask for much more than that. 3:31pmAlkaline Trio are a band that I’ve always really liked, but never considered a “favorite.” They were a band I loved to listen to, really enjoyed their first batch of albums, but they never hit me in the same way as they did other fans. After Crimson I considered myself even more of just a casual fan. However, I have to say, I really like this album. It’s brought me back in and reminded me why I used to spend so many nights air-guitaring to “Stupid Kid.” Now that the album is out there, and will be in stores on Friday, I’m curious to read thoughts from other people. I wanna know what everyone thinks works and doesn’t work, favorite songs, and all that. 3:32pmI recommend giving this one at least 2-3 spins. It was that third spin for me, while on the treadmill, that everything clicked just right. That’s when I went from liking it to elevating it up with some of their best. --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/review/first-impressions/alkaline-trio-is-this-thing-cursed-2/

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flanneljammies · 6 years

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2017 Top 20

20. Vous Autres - Trente Pièces d'Argent Ominous French metallions playing blackened post-metal. The glacial pace makes the emotional turmoil of the throat-shredding vocals even more harrowing. Slow and low baby. (self-released | Bandcamp)

19. Au Champ Des Morts - Dans La Joie Atmospheric black metal that touches on more than just post-rock and shoegaze. A mastery of dynamics and arrangement allows these Frenchmen to dabble in doom, noise rock, hardcore, and straight-up rock and roll. They also choose to fuck with the established vocal conventions, eschewing throat-shredding shrieking on occasion and slipping into solemnly intoned chants or a sort of hardcore bark. It's desperate and melancholy and yet often strangely uplifting. (Debemur Morti | Bandcamp)

18. Do Make Say Think - Stubborn Persistent Illusions Post-rock stalwarts return to form, making me almost forget about their last several lackluster records. More muscular and bombastic then they've ever been, DMST also seems to be gingerly testing the waters of math-rock. There are still the gorgeous passages of lilting, pastoral beauty, but never at the expense of emotionally wrenching melody. It's no Enemy Airship, but it's a good'un. (Constellation | Bandcamp)

17. Only The Bones - Death And His Brother Sleep This Chicago band describes itself (with tongue planted firmly in cheek one supposes) as "post-Fugazi." They're not far off the mark. Members of Swan King, Snow Burial, and This Computer Kills churn out jagged Dischord-style post-punk hooks that veer off into psych and metal territory occasionally. It's economical, concise, and packs one hell of a wallop. (self-released | Bandcamp)

16. Maximum Busy Muscle - Maximum Busy Muscle Expansive double-drummer noiserock from Athens GA. Unlike most bands trafficking in the post-Touch & Go world, MBM dispenses with vocals entirely and go completely instrumental. But this isn't some namby-pamby post-rock record. This is a tough-as-nails excursion into a maelstrom. The razor-sharp musicianship teases out swaggering noiserock, post-hardcore, and mathrock. But when the band opens up a bit and lets your catch your breath, there's also some sort of weird psychedelic thing going on that I can't quite put my finger on. It's an exhilarating and engrossing roller coaster. (self-released | Bandcamp)

15. Gnod - Just Say No To The Psycho Right-wing Capitalist Fascist Industrial Death Machine Anarchist drone punk from the UK. Apparently the band has been around for the better part of a decade and their recorded output has dabbled in all sorts of styles. I'm just getting hip to them now and really have only listened to this record. It's got the singleminded motorik of krautrock and the shambolic flip off of early Fall. Gnod manages to wring every last morsel of tone, meaning, and dynamics out of a single riff and still keep me on the edge of my seat. These muscular and ominous mantra-like songs underscore the modern dread summed up in the title. Crucial. (Rocket | Bandcamp)

14. Breag Naofa - II Seattle's Breag Naofa continue their forced march of crushing devastation. Their blackened post-doom is suffocating and yet somehow still sounds like it's about to take flight. Amid the pulverizing riffs and throat-shredding vocals, ugly and twisted melodies emerge from the gloom with just enough hook to ensnare you and pull you struggling and gasping to the surface. This is an epic, sprawling indictment. Subject yourself. (Halo Of Flies | Bandcamp)

13. Ex Eye - Ex Eye Saxophonist Colin Stetson leads this arty post-everything collective. If you're looking some nice jazz sax here, you'll be sorely disappointed. But if you're looking for damaged post-rock colliding with extreme metal, you've come to the right place. Ex Eye often reminds me of Maserati without any of that band's restraint and a whole lot more blown-out noisy layers. At other points I'm reminded of weirdo metal like, say, Liturgy but way blacker (both in style and mood) and chaotic. Stetson's sax blends with electronics and guitars so that it's often hard to tell what's going on and who's playing what. This is a stunning, immersive debut. An heir, perhaps, to John Zorn’s crown? (Relapse | Bandcamp)

12. Amenra - Mass VI Slow-burn doom from Belgium. The album begins with air-raid-sirens-in-the-distance feedback before a gentle guitar strum emerges. After what seems like an eternity (but really is only four minutes), the sky comes crashing down with impossibly pummeling guitar and drums and a tortured high-pitched screech. Amenra takes their time in all things. If that riff needs to go on for eight minutes, then goddammit, that's how long it'll go. Vocalist Colin van Eeckhout’s new-found comfort with quiet-n-pretty clean vocals hasn't dulled their brutal edge at all. He's perfectly willing to bide his time for the next round of blood-curdling histrionics. Majestic and crushing, mournful and melancholy, Amenra continues their ascent. (Neurot | Bandcamp)

11. Bereft - Lands Madison's own Bereft knock it out of the park on their second record (and first for Prosthetic). The blackened post-metal of their earlier material is mostly gone here, instead replaced by soaring atmospheric doom. The quartet milk as much mileage as possible out of the interplay between the two vocalists (sometimes hoarse scream, sometimes plaintive incantation). The bruising slabs of down-tuned riffs threaten to swallow voices and strangle guitar melodies. In the end though it's these atmospheric elements and a deft sense melody that elevate Bereft over their low-n-slow brethren. (Prosthetic | Bandcamp)

10. Lardo - Sinking If I didn't tell you Lardo was from Chicago, I'm pretty sure you'd be able tell anyhow. Lardo plays slashing and angular noise rock that will sound familiar to anyone who's ever heard Shellac. Like that band, vocalist Nick Minor delivers matter-of-fact sarcasm about the banal. Musically, they're anchored by a bit-crushed, synthy guitar sound that, on paper, should become really annoying really fast. The fact that it doesn't is a testament to the razor-sharp and inventive playing and laconic songwriting. As stylistically indebted as it is, Sinking still manages to step out from under the shadows and forge its own identity. (Alliterative Accord | Bandcamp)

9. Brutus - Burst This slippery noiserock outfit from Belgium is fronted by a woman with some ungodly pipes -- in fact, I’m constantly bewildered by her power. The tightly wound post-hardcore compositions are ear worms drilling directly into your brain. Add to that a vocalist more powerful even than Julie Christmas and you've got honest-to-gosh, fist-in-the-air anthem material. Burst is spine-tingling in its soaring majesty. (Sargent House | Bandcamp)

8. Human Future - Flat Earth Blues Apparently this London post-hardcore band broke up this year, but they've left us with a compelling swan song. This is tough, grandiose, emotionally affecting stuff that gets under the skin. Sure, there are other bands working in this same general area (Less Art, Self Defense Family, La Dispute), but Human Future's take is decidedly more bombastically rock (rawk?) -- at turns muscular and atmospheric, replete with guitar solos and proggy, psychedelic spaciness. (Truthseeker Music | Bandcamp)

7. Rainer Maria - S/T Ten years after we last heard from them, OG emo kids Rainer Maria are back. And it's a refreshing return to form. This "comeback" record is tougher, louder, and noisier then they've been since their first record. Kaia Fischer's guitar lines are as inventive as ever and Caithlin De Marrais' vocals still channel both emotional turmoil and ennui. Maturity hasn't dulled their edge, if anything they've honed their craft in a way only seasoned musicians and road dogs can hope to do. The amped up aggression and forward propulsion of their new-found joy of playing together again is tempered by well-considered studio experimentation and atmosphere. This is no nostalgia act. This is thoughtful people making vital music. (Polyvinyl | Bandcamp)

6. The Kraken Quartet - Separate | Migrate A quartet of four percussionists might sound like a recipe for disaster, but throw in some electronics and some top-notch playing and compositions and it turns into a post-rock tour de force. This is the record Tortoise should have been making for the last ten years. Richly immersive and percussive (duh), Separate is modern jazz for the post-rock crowd. It's compelling and spellbinding and deserves a much wider audience than it’s likely to get. (Hand Drawn | Bandcamp)

5. Oxbow - Thin Black Duke After a ten-year hiatus, the shape-shifting, iconoclastic Oxbow is back. Eugene Robinson whispers, growls, spits, wails, moans, shouts, and proselytizes over noise-rock filtered through a vaudevillian film score. Sometimes it's muscular and angular and other times it's lush and spooky. It's always uncompromising and beguiling. By the end of the record you may wonder what you heard, but you'll listen again either way. It may feel mostly subdued, but there's real menace beneath the all the layers; like you're poking a rabid bear just coming out of hibernation -- a bit foggy, but intensely hungry and unwilling to take shit from anyone. (Hydra Head | Bandcamp)

4. Less Art - Strangled Light Emotional and arty noise-rock cum hardcore is certainly not what one would expect from members of Kowloon Walled City, Tigon, and Curl Up And Die, but here we are. While Less Art often recalls a kinder, gentler Botch, there's loads of mile-wide riffs and almost-calms that do indeed reference KWC. Mike Minnick's laconic, world weary, sing-speak vocals are the centerpiece, anchoring the serpentine arrangements. These songs heave and writhe, sometimes lashing out, sometimes turning to introspection -- but there's always desperation, anger, and resignation. Strangled Light is a ferocious and formidable debut from lifers who know exactly what they're doing. Here's hoping they tour. (Gilead Media | Bandcamp)

3. Vanum - Burning Arrow This version of black metal is probably trve enough for the kvlt kids, but there's more to it than that. Burning Arrow is triumphant and processional, uplifting despite its claustrophobic maelstrom of blast beats, tremolo picking, and throat torture. The majesty and melancholy take on a narrative quality pulling you along to the next twist in the road. It's hard to explain without resorting to some bullshit sword-vs-sorcery trope, but fuck it... Your're on a journey towards victory. On the battle field you raise your fist in the air, heart swelling as you watch your enemies vanquished. Powerful and uncompromising stuff. (Psychic Violence | Bandcamp)

2. Big|Brave - Ardor Lazy description: Nadja fronted by Bjork. That's not wrong but there are more layers. Glacially paced doom/drone with hiccupy little girl squeals? That's not exactly it either. Crushing, mantra-like riffs à la My Disco with sweet-yet-exotic female vocals à la Blonde Redhead? Hmmm... not quite. A swirling mass of Swans-like noise underpinning Julie Christmas? Fuck it. It's brilliant. (Southern Lord | Bandcamp)

1. Aviator - Loneliness Leaves The Light On For Me I'm a sucker for emotionally wrenching, angularly mathy post-hardcore. This Boston five piece will immediately call to mind La Dispute or mewithoutYou but they're definitely not plagiarists. Hoarse, world-weary vocals are propelled by razor sharp riffs that never fail to tug at my heart strings. It's catchy, frantic, smart, and propulsive. Makes me punch my fist in the air, want to get in the pit, and long for my youth. (No Sleep | Bandcamp)

Other Stuff Other stuff that didn’t make the list, but that I listened to a lot this year.

Breag Naofa - Cearo (self-released) Blackened post-doom from Seattle

BRZRKRZ - Fever Dream Kitchen (self-released) Electronic atmospheric beats for the lounge at the end of the unvierse

Buzzooko - Giza (Retrovox) Giddy Italian Jesus Lizard-worship.

Chavez - Cockfighters (Matador) The influential arty indie band releases a three-song single after 20 years of activity. But come on! Only three songs and no tour plans?!?

Goddamned Animals - My Second Cult Suicide (self-released) Noisy Portland post-hardcore straddling the line between These Arms Are Snakes and San Diego chaotic hardcore.

Heaven In Her Arms - White Halo (Moment Of Collapse) Japanese Envy worship with lots of guitar solos.

Lotus Ash - The Evening Redness (self-released) Doomy sludge or is it sludgy doom? From Milwaukee.

Loyalists - Ride the Trashheap of Sound (self-released) Weird and arty noise-rock from Oakland.

M. Martin - A Harvest of Ice (Rare Plant) Gothy and apocalyptic collection of songs from Coordinated Suicides main man.

Monotrope - Unifying Receiver (New Atlantis) Complex instrumental noisy math rock.

New Cowboy Builders - Used Future (self-released) Final recordings form the Welsh band that is equal parts Fall and Big Black.

Often The Thinker - Better Part of Vice (self-released) Superb 2016 release from this far-flung post-rock collective. Lush arrangements and stellar playing.

Sannhet - So Numb (Profound Lore) The NYC blackgaze band has succumbed to the dark side of shoegaze -- barely a blast beat to be found.

Throane - Plus Une Main A Mordre (Debemur Morti) Claustrophobic blackened doom from France.

Underhand - Roman Numeral One (self-released) Muscular instrumental post-rock from Chicago.

UT - δ γ ε β (Taxi Driver) Chaotic Italian noiserock. Equal parts Blood Brothers and Slint.

Wailin’ Storms - Sick City (Antena Krzyku) Gothy noiserock from Durham NC. I hear loads of Echo and Bunnymen.

When Icarus Falls - Resilience (Czar Of Crickets) Mathy Swiss post-metal. Lots of Cult of Luna-worship.

Chelsea Wolfe - Hiss Spun (Sargent House) Another electro-goth outing from the mysterious chanteuse.

#best-of #review #noiserock #Black-gaze #post-metal #post-rock #electronic #Self-Released #black metal

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