So I finished this album up right now, and though this album might wane a little bit. And emphasizing about might because this probably won't happen at all. But for this album, I love it. The very chill, down to earth instrumentation with Bholoja's vocals that are pure as well as being very welcoming is a killer combo. And while the songs can be somewhat long, they never stay there welcome. It's not a chore.
My grade: It's been a while so yeah it's a 100.
I listened to Lil Boosie in High School, so maybe I should revisit it now that I'm older and see if it does anything more than bump in the whip.
Can I ask you a question though? Maybe I already have asked this, but how does someone in your neck of the woods get into southern hip hop so much? Feel free to just PM me the answer to this, because I am genuinely curious.
I was thinking to myself that this was a 90 when listening to this. But damn, this doesn't let up in the slightest. Even the bonus track Eden was tight. Looking at a kaleidoscope through a hazy lense. Grade:95
P.S 5 albums in and been enjoying this. Might get two more albums done for today.
Rhynersoft silly music is meaningful magicalProfile Utah
This is on my overall chart. It's some of the prettiest noise you will ever hear. Fans of MBV will probably enjoy this.
Just finished this up. If the outro was a little better then what it is, this could have easily been a 100. Like it is good. Damn good. But the rest is so enveloping, soul warming, just jaw dropping that the outro left me hanging a bit. So my grade is a 95. But for anyone who enjoys shoegaze or dreamy drones/ambience and hasn't heard this, listen to it now. Because it is 45 minutes of bliss.
Released, if I remember correctly, to a relatively lukewarm response from fans and critics who wanted more of the overtly hip-hop influenced, sociopolitical, psychedelic soul stew served up by Part One (of what had initially been proposed as a trilogy), Return of the Ankh has aged like a fine wine in the long, album-starved years since it dropped. (We've all agreed to forget that mixtape of 'Hotling Bling' remixes, right?) More in line with her earlier, more personal material, this album actually benefits from its supposed low stakes, with Badu and a host of like-minded, Soulquarian-adjacent musicians mining the smooth, luxurious, slyly funky sonic palette provided by Talking Book and Innervisions to craft an album of catchy, heartfelt, immediately accessible jams that sound equally at home on a car stereo in summer or through headphones on a rainy night indoors. Whilst I may appreciate that the sprawling ambition of Mama's Gun makes it Erykah's most impressive statement, New Amerykah Part Two is the Badu album I return to most frequently, with damn good reason: it's bloody gorgeous.
Yeah. This is amazing! I've recently been on a serious R&B binge, and I'm totally adding this to the trove of killer R&B albums from the 2010s right up there with SZA, Solange, & Kali Uchis.
It's only my first listen but can't see how this could miss our collective top 20 (if not way higher).
By 2010, dubstep was at something of a crossroads. The crowds it had brought together in its original form - spacious, sinister garage with all-encompassing sub-bass - had begun to splinter off, attending more niche raves that catered to their particular tastes. Grime was beginning to make the comeback that is still currently in full swing, the bros went in search of ever more abrasive chainsaw synths and fatter drops, and the more chilled out amongst us had gone off in search of a housier, techier take on UK garage, performed by the likes of Ramadanman and Untold and maybe even Joker, and informed by Four Tet and Todd Edwards and MJ Cole. That last section is where the likes of James Blake and his live backing band of the time - Mount Kimbie - roughly fitted in. Except that's somewhat unfair. On their debut - and still best (by miles) - LP, Kimbie carved out a series of airy, syncopated, acoustic guitar-sampling, glitchy jazzstep that was perfect for the post-rave chill-out, with its raindrop garage beats, warm organ tones, and tasteful patchwork vocal samples creating a comforting cloud of sounds just distant enough that they could be danced to joyously by a living room full of ketamine-fuelled mates without waking the neighbours. What surprises me most, then, about Crooks & Lovers is just how well it still holds up eight years on, despite very obviously being linked to hyperspecific memories of a very particular time and place. Its organic, patient nature still feels like a tonic to our 24-hour world, like a welcome hand on a shoulder wordlessly assuring that everything will be OK, almost (but, crucially, not quite) to the point of being twee. It is where the natural meets the mechanical in beautiful, human synthesis, and it deserves to be held in far higher esteem. _________________ 2021 in full effect. Come drop me some recs. Y'all know what I like.
Also, I may drop a short writeup for Love Is A Stream later, but since it's already been mentioned by multiple users I also may not. However, it is easily in my top five for 2010 and will almost certainly remain there. It's beautiful. _________________ 2021 in full effect. Come drop me some recs. Y'all know what I like.
Also, I may drop a short writeup for Love Is A Stream later, but since it's already been mentioned by multiple users I also may not. However, it is easily in my top five for 2010 and will almost certainly remain there. It's beautiful.
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