List of album’s I consider 10/10 (in no order)
Finally rich -chief keef
Back from the dead 1 -chief keef
Bang pt 2 -chief keef
Luv is rage 2 -lil Uzi vert
The perfect luv tape -lil Uzi vert
Icedancer -bladee
333 -bladee
Crest -bladee x Ecco2k
Loveless -my bloody valentine
Immunity -clairo
Riot -paramore
After laughter -paramore
Self titled -playboi carti
17 -xxxtentacion
AT.LONG.LAST.A$AP -A$AP Rocky
Blonde -frank ocean unknown
Unknown memory -yung lean
Stardust -yung lean
Psychopath ballads -jonatonleandoer96 (yung lean)
Unknown pleasures -joy division
e -Ecco2k
Concept vague -night Lovell
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when fall out boy said: "give up what you love before it does you in," and when they said: "we could cry a little, cry a lot," and: "the world is always spinning and i can't keep up," and: "do you laugh about me whenever i leave?," and: "talking to the mirror, say, 'save your breath, half your life you've been hooked on death,'" and: "i got this doom and gloom, but i feel alright, i got love in my heart," and: "we gotta throw this year away like a bad luck charm," and: "i've got all this love i gotta keep to myself, so much effort to make it look effortless," and: "i miss the way that i felt (nothing)," and: "sometimes, you wonder if we're ever lookin' back at a picture of 2019? and sayin', 'that's the way the world, it used to be, before our dreams started burstin' at the seams," and: "like a sledgehammer to a discoball, crushing all my low low low lows, ache it 'til you make it," and: "you were the sunshine of my lifetime - what would you trade the pain for? i'm not sure..."
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Album Review 8: In The Aeroplane Over the Sea by Neutral Milk Hotel
Neutral Milk Hotel - In the Aeroplane Over the Sea - 100/100
Yeah, it lives up to its reputation. This is fantastic.
Apparently, I just have a kink for critically-lauded-to-the-point-of-meme conceptual art rock, because that label applies to both this and Funeral, the other perfect 100 album I’ve listened to so far in this series. I think Aeroplane perhaps leans a bit more into folk than Funeral, but the resemblance is there (especially in Win Butler of Arcade Fire saying that Aeroplane was a big influence on the band). Anyway, sorry for beginning every review really weirdly now, I have a problem. About the music itself:
The album starts out with what I honestly think is a perfect opening track, the two-parter (technically 3 parts… but inexplicably in 2 songs, I do not know) “King of Carrot Flowers”. Immediately, you’re hit with the folksiness of the pure sound of this album, and I was reminded of Bob Dylan by lead singer Jeff Magnum’s tone of singing. This will fade as the tracklist progresses, but it’s very clear that Dylan was a major influence on him. It’s also here that I should mention this album’s flow, because oh my God. It seems weird to say, given that it’s a comparatively minor part of the work, but the transitions between songs are fucking flawless. With the first one alone, between tracks one and two, you’d be forgiven for thinking it was one song.
After this pair of songs, we get a close runner up for my favorite, the title track. I don’t know what it is about it, but it gives me a completely unique emotion, and I can’t hope to describe it. With the super compressed strum about 6 seconds in, we also get a taste of one other fun aspect of the production, its intentionally low fidelity. This works PERFECTLY for the tone of this album. It feels impossibly warm, welcoming, purposefully amateur in an endearing way, like it’s a local folk group performing live for you. The production as a whole is outstanding, on this song in particular there’s a really weird noisy melody, I assume on a synth but how you make a synth sound like that is beyond me, it sounds more like a whimpering puppy, in a good way, I mean.
Track 4, “Two-Headed Boy” is a stunning vocal performance by Magnum, and a great segue to discuss his fascinating lyrical style. The closest I can think of in terms of the surreal verbosity of his wordplay is They Might Be Giants. Magnum spins intricate yarns, lines twirling into extended metaphor, utilizing rhythm to its fullest. He acts as our whimsical guide to the labyrinth.
After this, we get another seamless transition (easily my favorite, it’s so perfect) into the first of two instrumental interludes, “The Fool”. This song is wonderful, it sounds like a funeral march for an entire world. The way it changes halfway through to sounding happy for just a moment, as if reminiscing on the good times long past, before returning to its downtrodden A section, is just incredible.
Track 6, “Holland, 1945” is probably the most high-energy song here, and for that reason it’s another favorite song runner-up for me. The “2, 1 2 3 4” count off at the beginning just gets me so HYPE, I don’t know. This song is almost… punk in a way, which is really weird for an album that started with a Bob Dylan inspired folk song, but weird in the best way possible. There are also mariachi-esque horns??? Who let them do that??
“Communist Daughter” is really, really, weird. Just absurd. It’s also one of the most solemn and chilled-out songs on the album, really going full force into the lo-fi production, and as always surreal, twisted lyrics. It’s also, oddly, the shortest song. Why that’s odd to me, I don’t really know, but it’s really interesting to me to think about.
“Oh Comely”, on the other hand, is fucking gorgeous. I… I don’t have a lot to say about this one. It’s spectacular. A sprawling, heartbreaking 8-minute track, mourning a long, long dead love, whom the narrator never even had the chance to meet after falling for them. It’s one of the most powerful songs I’ve heard in a while. And when those horns kick in, fuck, man. I can’t even describe it. Just listen to it, I implore you.
“Ghost” offers us a more hopeful take on the previous track’s themes of death, giving us a refrain of “I know that she will live forever / she won’t ever die”. The song explores the ghost of the narrator’s departed lover, imagining the freedom of being a ghost. I also love how it brings back the wordless vocal melody at parts (the “de de de de”) from “Oh Comely” but in a completely different context.
Our penultimate untitled track is really quite strange. It’s, for some reason, a BAGPIPE-led instrumental interlude, and, for some reason, it really really works. The layers of organic distortion from the heavy compression give it a warm texture, and the synths whirling around the head are dizzying in a wondrous way. Oddly, it reminds me of something that They Might Be Giants would put on Flood. Similarly weird, yet highly danceable.
The album’s lengthy closer, the second part to the earlier “Two-Headed Boy”, is a guitar-and-vocals only ballad, examining the grief the narrator feels over the death of his loved one, imagining what it would be like if they were still there, lying with him in bed. It’s beautiful. I especially love how the “Two-Headed Boy” motif doesn’t actually show up until late in the song, making its appearance that much more meaningful. It also only appears once, making it special every time you hear it.
Finally, in one of my favorite non-musical moments of the album, the whole thing ends with the sound of a person taking their guitar off of their neck, standing up from the wooden stool they were performing atop, setting their instrument down, and walking away. I don’t know why, but that’s perfect to me.
Favorite Tracks: All of them, but especially “Oh Comely”
Least Favorite: No
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