Best Ever Albums

Re: I try: Parts II & III

Antonio-Pedro — Mon, 29 Jul 2019 22:48:05 GMT

Author: Antonio-Pedro

Posted: 07/30/2019 02:48

29/07

Titanic Rising by Weyes Blood

Titanic Rising is characterized by a triumph in the field of contemporary art-pop, Weyes Blood can create songs that burst with humanity and life, with contagious vocal melodies, ensuring a pleasurable and rich musical journey. Titanic Rising abstracts some symmetrical influence from rock albums of the '70s, guitar solos a-la George Harrison, composition crescendos that make Elton John have memory lapses and a voice that ring a bell with Karen Carpenter. The album opens with A Lot’s Gonna Change, an ethereal song which opens with angelical strings followed by a piano and weyes's voice slowly opening like a flower into something bigger, something more beautiful, the drum stretches and the violins dawn in a euphoric chorus , the name of the song is repeated so softly that it seems that it was made by a divine touch, a musical entity of a dreamlike plane; in my opinion the highlight of the album and the best song of 2019. The first 4 songs are a streak that currently holds the best opening sequence of an album, with “ Andromeda ” being a more sentimental ballad, playing with a somewhat challenging progression and contains a solo that would make Harrison proud if he were alive today, “Everytime” A pop song that uses the artifice of weyes skill with a beautiful vocal melody to stand out from its not so unique evolution. “Something to believe ” closes this room with a bittersweet request for peace, the whole aura of the song longing for a feeling that overwhelmed a comfort of having something to hold on to nearby. One of the things that I find most intriguing about titanic rising is how all of her songs can catch my attention, it seems like all of them were done in their own time and the recordings themselves took their time and the creative respect that these songs deserved. The result is a much more organic, enjoyable product that allows you to be much closer emotionally to weyes, within the possibilities, and this makes the richness of elements that the songs are immersed into much more visible and passable of appreciation. “Wild time” triumphs in the second part of the album for its theme-like resemblance and progressive construction of older songs (as I said, weyes managed to bring very good 70s aspects to this album) and probably builds the album's most epic song, being a distant second cousin of "Us and Them " and "I Talk to the Wind," she harnesses the instrumental richness of the album and the bold progression in which it is built to stretch between sonic arrangements that echo in the furthest parts of the universe. Titanic Rising is a work of art of painted priceless beauty in a person 's head in his room, asking the why the world is like that, the album exudes a mature tone, but it contains a refreshing breeze of innocence.

Re: I try: Parts II & III

Antonio-Pedro — Mon, 17 Jun 2019 19:15:23 GMT

Author: Antonio-Pedro

Posted: 06/17/2019 23:15

It's been so long...

17/06/2019

In The Court Of The Crimson King by King Crimson

The main point in which I think King crimson is different from its progressive descendants and allies is how well they embrace their artsy side pulling their more experimental site closely to their sound, which means that songs like 21st Century Schizoid Man manage to pull different faces of their musical skills, the first part a well written ode to a monument, a utopia of a dystopic future, in which it courses along with philosophical questions about existence in a post-modern battlefield warfare. But while the song progresses it unveils its velvet artsy side, feels like different arms grow, like a ultraviolet octopus swimming in the silent dark sea of the midnight, the constant time change and their precisely timed silence breaks only add up to this experience. It's intense but still something meticulously calculated, like a controlled chaos, a magician with numerous powers teaching her students, the saxophone floats uncontrollably from one side of the ear to the other giving the sensation of a certain disorientation but fear nothing little child, this is only a twisted fairy tale, it's twisted of how human it sounds, so differently from the mystical atmosphere created by most progressive artists by the time this album was released, it certainly paved the way for their most antiquate experimentation. Although this description makes it looks like this album is based solely on disoriented frequencies, songs like "I talk to the wind" and "Epitaph" arouse the most melodically sensible ears and display their comfort zone, such a pleasant atmosphere, something that puts you to close your eyes and float into flute's and guitar solos, both of them facing Robert Fripp's incredible musical abilities, like complex spiderwebs slowly fading into existence and catching you. In The court is not a long album, it rest only in the quality and consistency of its 5 songs, which flow in such a subtle way, it feels like a book, different chapters that leaves no cliffhangers between songs, and makes the best of them by gluing them into each other like Epitaph. This consistency is so effective because there is no space to get disperse between the songs, so it makes all the journey even more attractive and remarkable, surely by the first time we hear it we will be able to extract some remarkable points from it, it lays such dramatic and intense sound, yeah it sounds terribly outdated, but it's weird how it still could be done today, it feels fresh in the same way, I guess this is the most charming point of this record, it only shows how much ahead of their time this actually was. The most abstract point of the record is for sure the mysterious moonchild, it's one of the songs you either find it a masterpiece or a piece of garbage, there's no midpoint for it because mostly of its enormous length and its experimental site for improvisation in which is not even a little bit inviting to most comfortable listeners. most of its 10 minutes of improvisation is spent slowly building ambient sandcastles which fade away in an instant, it's something that is not even a sight of uncomfortable, but causes some estrangement of how odd it sounds placed in the middle of two emotional and expressive songs. Guitars appear from the dark like colored fireflies, in a starless sky, between breezes of drum crashes invading the soundscape, and keyboards watching distantly like old owls, all the elements are surely inoffensive, but for someone who surely loves some uncoordinated musical landscape it sounds absolutely delightful and delicious. I think Moonchild works really well by calming the album and setting the tone to the explosion that is the court of the crimson king in the end, an epic medieval fairy-tale with Machiavellic remarks of how the power had to be in good hands so the magic of the world would not end in the wrong hands. I used to hate the album art cover back then, but today it feels just odd... it grabs your attention and by the aural assault that it causes you, and leaves you well pleased (as seen in the back cover) the two moons of this album complete each other, I think this is something pretty human and still mystical, that's fantastic.

Re: I try: Parts II & III

Antonio-Pedro — Fri, 10 Aug 2018 22:27:26 GMT

Author: Antonio-Pedro

Posted: 08/11/2018 02:27

I should be writting here more I guess, I don't know if studies have really catch up to me but I haven't been blown away by most of music these days, even though I don't really stop listening to it whenever I'm heading to uni and going back, I'm afraid it's becoming something monotone and just becoming an habit more than something that is suposed to be fun.

Re: I try: Parts II & III

Antonio-Pedro — Wed, 11 Jul 2018 22:50:49 GMT

Author: Antonio-Pedro

Posted: 07/12/2018 02:50

11/07

R Plus Seven by Oneohtrix Point Never
I don't even know WHat I really thought about this record in terms of objective valour (corrected into my own subjective inner state) but this is something really intriguing and reather beautiful if you look to it with x-ray glasses, taking a deep look into its veins and bones. A blend of little artsy hiccups and deep breaths transported into music, it's like watching a moving kadinski dream, in which you don't really know what you're so pleased about but its ear-comfort mantains you closed into it, aestheticly challenging, this has got me spinning into closed eyes and long span of focus to give all of its traits a go, but I think I should just let myself go into this synesthetic avalanche carrying me away into this art show. I don't know what this means but I like it, and that's the main spirit I always want to have with most of musique. Good night FOlks

Re: I try: Parts II & III

Antonio-Pedro — Sat, 19 May 2018 11:19:23 GMT

Author: Antonio-Pedro

Posted: 05/19/2018 15:19

19/05

Twin Fantasy by Car Seat Headrest
Bitches I'm back by popular demand. This album here, the 2011 lo-fi version (that you should hear in 96kbps with $2 earbuds for true lo-fi experience) of course not the renewed hi-fi pop mess, is my go to album almost everyday, I just don't know why, I'm relating to almost everything here in such an aural level, is this what growing up feels like, the detachment from all our emotional youth ghosts? And suddenly diving into a boring and tiring rotine that is draining all the we could be having? I don't really know, but Twin fantasy has been providing a lovely route for me to feel as numb as possible between these both islands, trying to mantain contact with pre-historic radio signal. I'm in love also, I'm thinking about bodys every single day also, this is a moment of confuison lads. but it's a fun mess, let's dance and enjoy while we still have a good amount of calcium on our bodys.

Re: I try: Parts II & III

Antonio-Pedro — Sat, 31 Mar 2018 12:19:26 GMT

Author: Antonio-Pedro

Posted: 03/31/2018 16:19

31/03

The Disintegration Loops by William Basinski
This is the most beautiful tour de force ever, in fact it might be one of the most beautiful things ever. I'm so happy I swallowed this last night, I don't even remind sleeping before the live versions came in.
Loops loop loo lo d

Re: I try: Parts II & III

Antonio-Pedro — Thu, 29 Mar 2018 14:38:31 GMT

Author: Antonio-Pedro

Posted: 03/29/2018 18:38

29/03

Music Has The Right To Children by Boards Of Canada
Excerpt from something I wrote while in university and listening to this record twice while trying to manage to study the human anatomy:

The taste of sunshine into an ice cream, old VHS Tapes with loops of your childhood. Futuristic streets and roads of Europe filled with Retrocolateral ads of failed companies, lucid dreaming inside a kaleidoscope with your best friends surfing between southern lights and billboard leds in a single night. IDM is a such a weird genre, not because of the music it contains only, but mostly because of what its name could possibly mean, how is something intelligent, does it imply it lives with its own IQ, or has its own decisions? It actually could mean that the song is able to sustain by itself like it was a collective body of work that was able to feedback itself with the music around it, like some kind of sunflower into a multi-colored garden of sound, smells so sweet still so cherish. Music has the right to the children lives in a past dimension, this is what I like the most of it, it feels in a different sphere of existence, one of which we all were in a part of our lives, the sounds of existent moments photographed with analogue cameras and digest into heavenly computers with nostalgic value added into all over it. Do you guys remember those old youtube videos in which they used to add songs to it to retro videos they would find in their parents tapes, it feels like some kind time capsule that keeps being buried and as much as the time passes it keeps giving us that lovely breeze of authentic air, it's like a watermark of its time, something you can bring your mind to such a interesting joy to recognize those patterns that are all locked into your subconscious, and suddenly come to click into a weird recognizable ecstasy of art and memory. Well MHTRTTC feels like collected sounds from these lost pieces of our own memories and experiences that come to emerge and blend into a spectrum of elastic recognizance of collective memories. And lies here a special mention to one of the most beautiful and one of my favorite songs of all time "ROYGBIV" which is the conjunct of all the colours of the rainbow that blow into different perception sequences, bursting itself out of joy and brightness, sounds like the culmination of all what Music has the right to the children tries to portray, sequenced memories of the past all blended into an infinite cosmic cream-dream. It's so good to be a kid

Link

Re: I try: Parts II & III

Antonio-Pedro — Sat, 17 Mar 2018 18:03:48 GMT

Author: Antonio-Pedro

Posted: 03/17/2018 22:03

17/03

Little Dark Age by MGMT

GO FUCK YOURSELF

YOU HEARD ME RIGHT.
Roads with dead end streets in which weird and wounded ghosts live on by, throw a stone the first one that hasn't felt spooked when heard about the demons and the visceral creatures that live on the depths of the underworld. MGMT's music always struck me with such an eerie and halloween-like vibe, in a way like they were trying to always to hit us with some galactic and otherworldly stories and psychedelic sysnesthethic aesthetic that was masterfully crafted on their debut Oracular spectacular. But I always had a step behind with Oracular as I felt it was mostly built around as castles of sand for the lead singles, in a way that everything there just pales in comparison and looks sorta odd (like inserting alien blood into a worm heart). So as you probably would think I wasn't sleeping on the kilo metrical ticket line for Little dark Age when it was announced, since their Self-titled album dragged me through a lot of hype curves, and fell off as a collage of experimental attempts of deconstructing their own pop structure. By the lightning, LDA hits you with a bat with she works out too much dressing you out on aerobics lycra clothing, with a retrowave atmosphere which evolves the entire record like a star gift paper, it sounds like it just came from a fitness channel directly broadcasted into your ears, welcome to the shitshow as the song opens. LDA feels like an astral successor to MGMT (actually it sounds more like its twin unknown brother that happened to live in a alternate dimension) flowing like a solid intermediate point between their structural experimentation and their pop refinement, not allowing the album flow into a sea of mediocrity in the non-singles song (which is actually a really good achievement since I couldn't notice myself which of the singles were actually singles). And in the end "Hand it over" feels like such a fitting closer with its lightweight as bubble plastic progression and bittersweet warm hands evolving all over your body, slowly surrendering into the flow of the river, it's always harder to fight the inevitable. Living a Virtual nightmare with x-ray goggles infected by a radioactive junkie, look out for what is actually there and what isn't, the sun doesn't look too hot as today as it was one day, as I don't remember my shadow having this kind of silhouette.

EDIT!:

Link

Their best song is actually a cover

Re: I try: Parts II & III

Antonio-Pedro — Mon, 26 Feb 2018 20:35:36 GMT

Author: Antonio-Pedro

Posted: 02/27/2018 01:35

Gonna take a little break from my saturday night log-in posts guys, classes have been coming back firing from the clouds, so I will be posting less regularly here, sometimes only if I find something hella exploding i might pump my imagination and brainpower here, but now my schedule has bee a little bit brittle boned, also would love some recs for the future!

Love you all, take care 😄

Re: I try: Parts II & III

Antonio-Pedro — Sat, 17 Feb 2018 21:44:48 GMT

Author: Antonio-Pedro

Posted: 02/18/2018 02:44

17/02

Thumbnail. Click to enlarge.

Kill Bill - Ramona
Going to take a quick one since I'm on a rush to get to the cotton candy store and get my blood full of sugar, Haven't added this to the database yet, but it's my first listen and I'm totally blown away by this mixtape, lovely hip hop album with such a chilling and spacial atmosphere, like gazing the rainy night alone in the third floor, the production is pretty good considering this is one of Bill's earliest records, and the rapping is not bad, the feats being very well placed in some of the songs, it deals mostly with introspective themes like mediocrity and emotional health falling off the mainstream rap spectrum, was very surprised this wasn't added earlier, could swear some of you would be digging it. Also it has many references to scott pilgrim so I'm totally sold out here, guilty I admit.

Recommended to my chaps: DBZ, Hazeytwilight, Eyezayzay and people who enjoyed Scum fuck, flower boy because this feels very tyler-like, and we all love that jazz

Link

Re: I try: Parts II & III

Antonio-Pedro — Fri, 16 Feb 2018 09:48:58 GMT

Author: Antonio-Pedro

Posted: 02/16/2018 14:48

16/02

Weezer (The White Album) by Weezer
If you told me a weezer album from the 10's would become my favorite from theirs, I would tell you're nuts and probably go out there jangling to Buddy holly, but in the last days after organizing my chart I simply noted, wow I really like this above blue album and pinkerton for example, and It felt like a lovely bird just burst out of an egg and began to twee twoot power-pop songs. Now I have been addicted to the blue album for quite a while and it was one of the first albums I have ever bought and listened in full, and while the white album doesn't have high heights such as Buddy Holly and Say It Ain't so, or the good life (in the case of pinkerton), it feels much more authentic and alive then these others two. I have been arguing quite a while about the blue album tracklist order (who the hell opens with my name is jonas) and I have found pinkerton's consistency to be flawed with that much distortion going through my ears, but the white album seems like the perfect balance between both glasses, and it got rivers on his best composing mood, of course songwritting might not be that top notch (but well, we're talking about other albums which contains tracks about half-japanese girls and being tired of sex, so there's not much argument to play over here), but it contain such energy and authenticity compared to their post-pinkerton projects. I think the definitive misstep here is without a doubt thank god for girls, in which Cuomo attempts to rap over a mediocre rock beat and an icky chorus, while California girls and Do you wanna get high are a lightning shout back to the past, both in the instrumentation and songwriting process, and endless bummer a lovely butterfly-like ballad which manages to capture all the pre-fall (or would it be the post-summer) depressive mood, and turn it into a youth filled shout. Of course it wasn't this easy to get into, not saying it's a high caliber Experimental power pop record (although I always thought about how it would play but anyways), but it gets glued in your brain like a lollipop which you can lick all the time and still feel it's sweet saliva running to your stomach, definitively one of those art pieces which I don't know and almost don't notice I am coming back, but subconsciously love it to death, It smells like sand and strong waves, and I love beaches and lemonades and bittersweet afternoons, so they nailed it. Welcome back lads.

Re: I try: Parts II & III

Antonio-Pedro — Fri, 2 Feb 2018 09:37:38 GMT

Author: Antonio-Pedro

Posted: 02/02/2018 14:37

0²/02

Let It Be by The Replacements
Doo doro doo doro doo doro. I woke up in a good mood today, and even if the sun isn't shining, I feel that it's time to let the season bloom or finally last in me. I Remember catching The replacements for the first time after listening to the punk kick em all' kids don't follow from their Ep Stink on rock band 3, and I remember my feet hurting only to think about all of the work the drums gave me, a fuckin' hardcore punk that would lift me up whenever I felt myself kinda slow as a snail. Moving on some years in front, I found this record while jangling through some of the BEA's chart, I kinda remember it beig somewhere on... repoman's chart? He smells like the 80s frizzed hair, so I will just assumed I got it from his musical amusement park, and when I first listened to it back in 2015 or 2016 I remember it being just how I expected it to sound, except it was much more mature, well produced (although it's unavoidable to say it sounds like the 80s from miles and miles) well arranged than I could ever think of. Yes the standouts were way clear, the opening tracks and the ballads androgynous (which I keep with care in my keyboard book to learn-y until today) and seen your video. But I couldn't see clearer what the album meant as a whole, maybe I just wasn't in the mood for it, and my 80s bias began to infiltrate my thoughts for this album (yes I unfortunately have a 80s subconscious bias, Must be something recessive so don't worry folks) and I thought about leaving it aside and listening to nothing but the main songs that I've mentioned above. But as I said earlier I've woke up in a such different mood today, not grumpy at all for my neighbor's dog barking me to open my eyes, and I thought giving this record and extra life in my heart and another chance to see if it could stick. And hopefully it did, I think what strikes me most this record is how all they songs seems to fit in and they are so cohesive that almost pulls me into the record, maybe as I said this is a mood thing, but I will taking this to the bus with me because hell it makes me feel joyful as a sunflower in summer, I love flowers.

Re: I try: Parts II & III

Antonio-Pedro — Sun, 28 Jan 2018 23:11:51 GMT

Author: Antonio-Pedro

Posted: 01/29/2018 04:11

24k MAGIC IN THE AAAAAAAAAAAAAAAAAAAAAAIR

É A MAGIA DOS 24 QUILARES CARALHOOOOOOOOOOOOOO

YESYESYESYESYESYES

ps: drunk

Re: I try: Parts II & III

Antonio-Pedro — Sun, 21 Jan 2018 21:25:21 GMT

Author: Antonio-Pedro

Posted: 01/22/2018 02:25

20/01

An Empty Bliss Beyond This World by The Caretaker
Old dusty records playing with an holographic exposition of happy people on 40s ballroom dances. Luckily I have been on a certain stroke of good discoveries in the last few blue moons, this album and the lemon of pink above mentioned, certainly got me joyful on its first respective spins, in a way which both of them could translate into a certain emotional enchanting reverberation in my ears, and this just has got me hyped and certainly kinda artistic (such as my interest for different areas of art, such as Graphic design and photography) have developed a lot lately. And so I thought it would be more than fair writing about one of the responsible for all this curiosity. I commonly have the habit of setting a tone to certain albums, and it's no lie that it normally makes the experience of enjoying the music itself more delightful, as all the landscape that my eyes can catch is comfortable and adequate, giving a blooming synesthesiatic avalanche for my heart and soul, the ears and eyes are able to transport me to a certain dimension that is almost achievable to the aesthetic of the record. With An empty bliss, I commonly find it being the last thing I hear at night, and the first soundtrack to my dreams at dawn, it's such a peaceful and mellow record with its scratching noises and dixieland nostalgia, it could bring back unlived and living memories of your grandpa's childhood, with it's sampling of old jazzy tunes it manages to disintegrate the listener into a liquid flow of homesickness and relate-ness. While many people can almost portray this as a certain blood-brother as the bioshock sondtrack, I find it much more closer to that scene in wall-e in which it watches the old movies and with its humanized consciousness, is able to scratch emotions from that gradient of art, which is also one of the most significant scenes on the cinema for me. I have been speaking of bittersweetness in my notes for quite a few time, and for me one of the most interesting moments of music's after laughter bittersweet is that it manages to contrast opposing extremes of the whole spectrum into the same artistic package, and with this album they have quite hit the perfect high spot for it. As I have spoken before, my impulse of attaching the album to a certain atmosphere outside of me is mostly because of the desire of being vulnerable for to all the thousand-face feelings to take over me and mix inside my stomach, until bringing me to a certain contrast of unexplainable melancholia, melancholia has never been so pleasurable before, as the strings locks in with the record playing in the back I lay down in my chair and think about my past and nostlagia tickles me into a dreamy adventure reminding me how good life is. Last week I was reading about human emotion and how different cultures have their own native words for their emotions, and it allowed me to understand so much about this sea of consistent emotional ups and downs in my mind, it allows you to understand so much more and to give voice to that human expression inside of you, and recognize that moment of bliss in which we found ourselves to find a meaning in the universe around us, and it's a fucking beautiful place.

Edit: I finished writting this at the time the record ended and it's display of orchestral ecstasy just made everything better haha

EDIT 2:
An Empty Bliss Beyond This World follows the mind of a person who tries and struggles to remember even small parts of his life using broken sounds. The record was based on a 2010 study about the ability of people with alzheimer's disease to remember music they listened to when they were younger, as well as where they were and how they felt when they listened to it. The Caretaker project was inspired by the use of ballroom music in films such as Carnival Of Souls, The Shining, and the television series Pennies from Heaven, which drew James Kirby to themes of memory loss that appear on An Empty Bliss Beyond This World: "Famously, people as they got older have started seeing dead people, people from the past, and that's their reality because the brain's misfiring. I'm very interested in these kinds of stories. Music's probably the last thing to go for a lot of people with advanced Alzheimer's. There are a lot of people who suffer from Alzheimer's who just hum the same songs over and over again"

Re: I try: Parts II & III

Antonio-Pedro — Sun, 14 Jan 2018 21:09:00 GMT

Author: Antonio-Pedro

Posted: 01/15/2018 02:09

The Lemon Of Pink by The Books
I just heard this for the first time tonight, and I also listened to it the third time tonight, this is so mesmeryizing, and so quirky and ALIVE! feels something so childish and powerful. It's like traveling old and beautiful and sparse memories of your childhood with all that cherrish colour, deleted and recovered in cryptographic movies. fantastic stuff. I don't know what else to write but that this has taken me to a nostalgic and mystical escapism I haven't visited in quite a while.
ALLAAHUUUUUUUUUHAAAAAKBAAAAAAR

Re: I try: Parts II & III

Antonio-Pedro — Mon, 8 Jan 2018 12:45:56 GMT

Author: Antonio-Pedro

Posted: 01/08/2018 17:45

08/01

The Smile Sessions by The Beach Boys
the holy ghost

Now I have to be quite honest with you my friends, while I've gotten to jangle with many of the jewels that beach boys have brought to us mere mortals with time, I always found pet sounds to be an album that lacked something, Of course "God only knows" and "Wouldn't it be nice" are eternal masterpieces which are not in question when I mean it, but I always felt like the album went into something bigger as a complete work and it has got somewhere close to what it wanted to be. I remember listening it for the first time some years ago, and finding nothing special about it (I admit that I had a bias virus for the 60s installed in my consciousness at that time) and rubbing it with other eldery stuff I had in my library. After thousands of lunar cycles and song cycles, I've came back and gave it the spin it deserved, it clicked a lot with me, and I began to notice how tasty the harmonies and the composition were when they merged together in the opening song. Still last year I was dragged to listen to The smile sessions after reading about a 50s pet sounds article which said that brian wilson had a mental breakdown in the making of the real SMILE and he let all the mashed potatoes that he created fall all over place, which quite brought me, an enthusiastic student of the human mind to investigate the art he has left after he managed to unite all the pieces he has lost in the making of this. It also contained as the songwriter one of which I consider the most musically-flamboyants, no one but Van Dyke Parks, semi-famous for his avante-pop record Song Cycle which has been a very divisive record for me in the past.

After listening to both song cycle and The Smile Sessions you can almost feel the psychedelic influence that Dyke Parks had on the composition and songwritting for many of the songs here (vega-tables being my favorite example) but differently from his fragmented and deconstructed album, smile manages to blend wilson's pop structure knowledge with Parks' dynamism in almost the perfect doses (surf's up being the high point from the album in both studio and solo versions). The result is the sound of an angelical choir splattering over elastic arrangements in such a cohesive progression, like I've said once to myself, it's like ear-candy for those who are sugar lovers. And also while evoking a similar summer feeling as pet sounds (at least for my ears' judge) I feel that smile sessions manages to be a more emotional dense and warmer album, besides having many different songs that could do about the oposite work, but it works like a peacock when it flourishes. It's interesting to think an album that almost never existed (or does it exist thought? it's still a mystery to me) manages to become one of my favorite records of all time, Descartes didn't tell me about 60s psychedelic pieces. And while we are in a certain metaphysical discussion around here, I got another confession to make, I messed up with the order of the album, it's album sessions, so I guess I can do this, the out-takes scramble in the middle of the songs producing a certain light aural climax to the album and avoiding my plausible unfocusing from the songs, which tended to happen so often before, I don't know if I'm committing a crime to an intergalactic musical order but if I am, then it will be damn worth going arrested, you're under arrest!

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Re: I try: Parts II & III

Antonio-Pedro — Mon, 25 Dec 2017 13:59:15 GMT

Author: Antonio-Pedro

Posted: 12/25/2017 18:59

bobbyb5 wrote:

�'� �'� �'� �'�

I feel the same way when I listen to this album. And the best thing is that it has lots of songs from Homework on it, which is their first and greatest album. At least from a house/techno standpoint, but also from any standpoint in my opinion. I try to encourage all the people I know who think Random Access Memories and Discovery are their best albums to try to get into Alive 2007, hoping it'll stir their interest in Homework. It's also been 20 years since Homework came out, so a lot of people just don't know it. But the versions on Alive are pretty smashing. Also their other Alive album, Alive '97, still sounds pretty good too. But it's definitely been superseded by Alive 2007.

Can't believe I jumped over your messages friend, my deeply and cuddly sorry.

I really enjoy alive 97, not as much as 2007, who on their feckin minds would think about that, but I definitively enjoy it as a jamming session of daft punk, I think it would be a little bit better if most characteristic songs and samples from homework were used (the fact that they have to parts of "revolution 909" is kinda disappointing). And yes, alive blows away all their studio albums, although discovery is not far away from the holy grail of daftness.

Come on thomas there is still one friday to release alive 2017

Re: I try: Parts II & III

bobbyb5 — Wed, 20 Dec 2017 23:25:57 GMT

Author: bobbyb5

Posted: 12/21/2017 04:25

Antonio-Pedro wrote:

18/12

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Antonio Tries to guess the Grammy winners 2017 (antonio misses out album of the year again edition)

Record of the Year
Should Win: 24K Magic - Bruno Mars
Will Win: Humble - Kendrick Lamar

Album of The Year
Should Win: Melodrama - Lorde
Will Win: DAMN - Kendrick Lamar

Song Of The Year
Should Win: 4:44 - Jay-Z/ That's What I Like - Bruno Mars
Will Win: Despacito - Luis Fonsi

Best "New" Artist
Should Win: SZA
Will Win: No idea, SZA probably

Best Pop Solo Performance
Should Win: Million Reasons - Lady Gaga
Will Win: Shape Of You - Ed Sheeran (because Edsheeranwinslol logic)

Best Pop Group Performance
Should Win: No one, fuck these nominees..... Feel it still is acceptable
Will Win: Despacito - Luis Fonsi

Best Pop Vocal Album
Should Win: Joanne - Lady Gaga
Will Win: Divide - Ed Sheeran

Best Dance Recording
Should Win: Tonite - LCD Soundsystem
Will Win: Tonite/ Line of sight - ODESZA

Best Dance/Eletronic Album
Should Win: 3D The Catalogue - Kraftwerk
Will Win: 3D The Catalogue - Kraftwerk

Best Rock Performance
Should Win: You Want It Darker - Leonard Cohen
Will Win: You Want It Darker - Leonard Cohen

Best Rock Albums
Should Win: A deeper Understanding - The War On Drugs
Will Win: Hardwired - Metallica

Best Alternative Music Album
Should Win: American Dream - LCD Soundsystem
Will Win: Humanz - Gorillaz (I swear if arcade fire wins I'm going to flip my desk)

Best R&B Performance
Should Win: The Weekend - SZA
Will Win: That's What I Like - Bruno Mars

Best R&B Song
Should Win: Redbone - Childish Gambino
Will Win: Redbone - Childish Gambino

Best Urban Album
Should Win: Ctrl - SZA
Will Win: Awaken my Love - Childish Gambino

Best Rap Performance (same for Best Rap song)
Should Win: HUMBLE - Kendrick Lamar
Will Win: HUMBLE - Kendrick Lamar

Best Rap/Sung Performance:
Should Win: Love Galore - SZA
Will Win: -

Best Rap Album:
Should Win: Flower Boy - Tyler, The Creator
Will Win: DAMN. - Kendrick Lamar

Best Compilation Soundtrack
Should Win: La La Land - Justin Hurwitz
Will Win: La La Land - Justin Hurwitz

Best Score Soundtrack
Should Win: Dunkirk - Hans Zimmer
Will Win: La La Land - Justin Hurwitz

Best song Written for Visual Media
Should Win: City of Stars - Justin Hurwitz
Will Win: City of Stars - Justin Hurwitz

Wouldn't that be cool if Kraftwerk won a Grammy after all these years?

Re: I try: Parts II & III

bobbyb5 — Wed, 20 Dec 2017 22:58:38 GMT

Author: bobbyb5

Posted: 12/21/2017 03:58

Antonio-Pedro wrote:

01/12

Alive 2007 by Daft Punk
OH YEAH

I have been listening to this show on a daily basis and it's keeping me sane through bus trips out there, the way the songs flow one into another is so smooth it gives me goosebumps, the crowd makes it even better, the cheers and the singalong immerse me more and more into this journey. What a fucktastic night this must've been.

Touch it, bring it, pay it, watch it, turn it, leave it, start, format it
Touch it, bring it, pay it, watch it, turn it, leave it, start, format it
Touch it, bring it, pay it, watch it, turn it, leave it, start, format it
Touch it, bring it, pay it, watch it, turn it, leave it, start, format it

Re: I try: Parts II & III

Antonio-Pedro — Mon, 18 Dec 2017 09:44:45 GMT

Author: Antonio-Pedro

Posted: 12/18/2017 14:44

18/12

Thumbnail. Click to enlarge.