So I've been away for a while, sorry about that. While I've been gone I've had some big and unexpected epiphanies about my listening habits. I've been over-rating (particularly in the 60-90 range) and I let popular opinion raise my opinions of albums by a lot (you're gonna see some MAJOR drops in the ratings of the albums I've previously listened to). Just to clear things up, a 60-79 means it's a good album, an 80-99 means the album is special, or a masterpiece, and a 100 is perfect. I'm also gonna ditch the shortlist and narrow it down to at least the 5 highest-rated albums of each year plus anything I'm too interested in to pass up. I'm probably going to write less too, since I got a job and now I have less time. I'm currently re-listening to and re-rating the albums I covered previously, but I have listened to two additional albums in the meantime and I'll post about them shortly.
I've always wanted to listen to Joanna Newsom's music. I finally did, and I got two whole hours of it. I think the most impressive thing about this album is that it managed to keep me engaged for its, well, hefty run-time. I really have not listened to anything quite like this before. Very, medieval, I guess. I mean, harp right? Anyway, these songs are very well written. I spent the whole listen in awe of Joanna's ability for lyricism though it became difficult to tell the songs apart over time. Nevertheless I loved the title track and the two closing tracks particularly. I can't wait to cover 2015 so I can listen to her follow-up. This is good, though I definitely wish it was a little more bite-sized.
Rating: 66/100
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So my dad bought this CD when I was 11 or so after hearing the lead single/title track on the radio. We'd listen to this on summer road trips and on our way to the beach (yes, there are beaches in Canada). Memories of sunscreen, sand and cool breeze come to mind when I listen to this so there are definitely emotional ties and nostalgia involved, though it definitely isn't the only merit it has. This is a very fun pop rock album. The title track is infinite summer bliss. Lovesick is worth a listen too. The rest of the tracks are all well written. Hannah puts out some delightful performances as well and are on their own enough to return to the project for. The album could use some more depth and Hannah definitely has space to grow though this is a very impressive debut.
Rating: 66/100
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Tame Impala have a well-formed and established sound of their own right off the bat, which in my opinion is the most impressive asset that their debut full-length project has. I liked the first four tracks off the album, setting it off to a great start, though soon the songwriting quality decreases, ideas seem less developed, and the band's sound encases the remaining portion of the album, which is very bland and monotonous in nature, in a sonically intriguing disguise. That alone keeps the album afloat in the waters of indifference. The band displays lots of potential and a good foundation, but much space to grow as well.
Rating: 58/100
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I think I've listened to all I wanted to in 2010, or at least all I could before I was tempted into starting the next year. I'm only making a simple change in the order in which I listen to albums and that being that I will listen to my 2011 picks in chronological order by release date. So, here goes:
After getting a listen upon arriving home from work I made the time to squeeze in another one for this project I've always had my eye on but never picked up. It paints a picture of war that is filled with gloom, tragedy and loss though remaining strikingly beautiful. I'm thoroughly impressed with Harvey's ability for songwriting and the arrangements on her songs. They're subtle though packed full of details and textures. Despite the music feeling feather-light the album is quite hefty from a lyrical standpoint, bringing images of disembodied limbs on trees, blood-stained beaches and deformed children as depictions of the horrors of war. The thing that really has me thinking is how much more I enjoyed my second listen than my first. I'm almost sure this is going to grow on me like few albums have, so I'll make sure to update this on future listens if it does so.
Rating: 79/100
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A walk through a cold, gray, and silent city, abandoned long ago. The listener is provided nothing familiar to hang on to, just a relentless, biting wind of distortion. Every once in a while the shadow of a familiar memory would pass by on the peripheral, though it's so thin and fleeting that the listener can't grasp on to it. Despite all this nothingness there is one familiar thing, and that is a feeling of loneliness, dread, and a longing for home. There were instances as I listened to this for the third or fourth time where I noticed emotions that had never been brought on to me by an album before. It was intense, and it came from within, rather than being a surface-level reaction. Perhaps that is part of the appeal of ambient and drone. I'm quite new to the world of this genre, but if that is the case I want some more. I wouldn't be surprised to see this grow on me with time.
Rating: 75/100
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Though I believe that Radiohead aims for excellency every time, I don't think this album was ever meant to be another 'masterpiece for the ages' kind of project by any means, and I think that's okay for the band at the point they were at. The King of Limbs is an album focused on rhythm. Sprawling arrangements, detailed percussion, hypnotic guitar lines and frenetic loops take center stage. Naturally this differs from their other efforts but it remains stylistically theirs at the core. That being said, I find that all the focus on the technical side of things leaves the album lacking emotion, something that listeners have come to expect of a Radiohead project. It can also be underwhelming at times, with climaxes and left-turns being snuffed as well. In all honesty I think the album does fulfill the vision the band had for it, or at least the sounds they wanted to display. The band had every right to make this project, being at such great heights, and I think it's worthwhile to hear them experiment in this manner.
Rating: 68/100
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Exmilitary opens with Beware, a hyper-dystopian and desolate soundscape enveloped in a desert-dry drone. Screaming is prominent, of course. Guillotine then raises the bar way high. Frankly I think these are the only songs off this album that I'd consider for a Death Grips 'best-of' kind of thing. Though yes, production is insane and lyrics are excellent and cohesive, I have a tough time not feeling as though some tracks lack identity and better hooks. The sound of the album relentlessly pummels your skull in, but never branches out far enough to be experienced in different and continually stimulating angles, rather ending up as a numbing and tasteless experience. Dare I say, I get bored once I'm deep in the run-time. Not my favorite by the group but quite the debut considering that it holds nothing back, as if the group had been at it for ages. It's rare to see a new face bearing no timidness whatsoever.
Rating: 59/100
Last edited by RadioBallet on 11/07/2019 14:15; edited 1 time in total
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