Seeing as though I put Adore on my most recent best albums chart, I figure I'll make my stan(d).
I know I bitched about the glut of synth pop early in the year, and here's another one, but from maybe a more unlikely and possibly uneeded source.
Billy Corgan should start producing albums, because if some of these songs would be given to a more relevant popstar, then they'd probably be hits. This album will get unfairly panned by would-be reviewers that are looking for something exactly like this to shit on, but I think the songwriting is pretty tight. It's obviously way longer than any sane person would make an album like this, but it's clear that Billy Corgan has never quite been that way. However, despite it's length, almost all of the songs are in between the 3 to 4 minute range. (Something that never happens on a Pumpkins album) so it's clear that he had a lot of his mind. I imagine that (rightfully so) a lot of the lyrics will be laughed at, because Billy is still writing like a sad teenager writing in his diary when he's a 53 year old man, but I think that is laudable to an extent. Other older artists might go in the opposite direction. Anyways, this album is not good, but it's not destined to be an all-time stinker either. I find some of it to be genuinely charming and well-written; although predictable and bland in the same measure.
Have you heard their last, Shiny And Oh So Bright? How do they compare? 'Cause I rarely trust any "official" review when it comes to older, well-established bands, it's always either too much fanboying or shitting on them for no reason at all. That being said, Shiny And Oh So Bright wasn't good, but I'd love to give the later Pumpkins career (post Machina) a try. _________________ Overall chart Fake overall chart
Have you heard their last, Shiny And Oh So Bright? How do they compare? 'Cause I rarely trust any "official" review when it comes to older, well-established bands, it's always either too much fanboying or shitting on them for no reason at all. That being said, Shiny And Oh So Bright wasn't good, but I'd love to give the later Pumpkins career (post Machina) a try.
I would say it's marginally better or about the same. 5 songs out of 20 are pretty good. 10 are listenable, and another 5 are just vacuous sounds.
Seeing as though I put Adore on my most recent best albums chart, I figure I'll make my stan(d).
I know I bitched about the glut of synth pop early in the year, and here's another one, but from maybe a more unlikely and possibly uneeded source.
Billy Corgan should start producing albums, because if some of these songs would be given to a more relevant popstar, then they'd probably be hits. This album will get unfairly panned by would-be reviewers that are looking for something exactly like this to shit on, but I think the songwriting is pretty tight. It's obviously way longer than any sane person would make an album like this, but it's clear that Billy Corgan has never quite been that way. However, despite it's length, almost all of the songs are in between the 3 to 4 minute range. (Something that never happens on a Pumpkins album) so it's clear that he had a lot of his mind. I imagine that (rightfully so) a lot of the lyrics will be laughed at, because Billy is still writing like a sad teenager writing in his diary when he's a 53 year old man, but I think that is laudable to an extent. Other older artists might go in the opposite direction. Anyways, this album is not good, but it's not destined to be an all-time stinker either. I find some of it to be genuinely charming and well-written; although predictable and bland in the same measure.
I'm honestly so happy to hear someone say this, I tried getting people in my social circle to give it a try cause I really enjoyed it but no one gave it the time of day
baystateoftheartNeil Young as a butternut squashProfile Massachusetts
Listened to this largely because of travelful, and so glad I did. A really great album that goes right to #1 on my 2020 chart. In terms of beats and flows, Killah Priest is doing some surprisingly experimental stuff here that's very successful. His raps are very intricate while also evoking stream of consciousness. Lyrically, it's perhaps the wokest album I've ever heard, in the original sense of the word as Erykah Badu coined it. Given that, it's pretty amazing that Killah Priest crafts this so that it's not only listenable, but stellar. _________________ Join us in the canon game :) / Add me on RYM
Listened to this largely because of travelful, and so glad I did. A really great album that goes right to #1 on my 2020 chart. In terms of beats and flows, Killah Priest is doing some surprisingly experimental stuff here that's very successful. His raps are very intricate while also evoking stream of consciousness. Lyrically, it's perhaps the wokest album I've ever heard, in the original sense of the word as Erykah Badu coined it. Given that, it's pretty amazing that Killah Priest crafts this so that it's not only listenable, but stellar.
Shit, need to get around to this. Killah Priest is consistently the best and weirdest Wu-adjacent rapper of the past decade (or more).
Drakeo's new mixtape is incredible, by the way. So yeah. _________________ 2021 in full effect. Come drop me some recs. Y'all know what I like.
So, if I had to nail down a top 10 for the year at this point, it would be:
Kang Tae Hwan, Kang Hae Jin - Circle Point
John McCowen - Live @ ISSUE Project Room (w/ consideration for Two Energy Cops at 3AM)
Judith Hamann - Music for Cello and Humming (w/ consideration for Days Collapse and Shaking Studies)
Ellen Fullman & Theresa Wong - Harbors
Sarah Hennies - The Reinvention of Romance (w/ consideration for Spectral Malsconcities)
J Pavone String Ensemble - Lost and Found
Sergio Merce - en pensar de lugar
Macie Stewart & Lia Kohl - Recipe for a Boiled Egg
Joanna Mattrey - Veiled
Angharad Davies, Klaus Lang, Anton Lukoszevieze - unfurling
Some entries I'm also considering include Amplify 2020: quarantine, Polwechsel's Unseen, James Tenney's Acoustic Phenomena/Hymnic Sounds, Jeremiah Cymerman's Systema Munditotius, vol 1., Autechre's PLUS, and Charles Curtis' Performances and Recordings 1998-2018. Except the Autechre, that's nearly all in the jazz/classical vein; some things I consistently returned to outside of that include Julianna Barwick's Healing Is A Miracle, Mary Lattimore's Silver Ladders, Laura Cannell's The Earth With Her Crowns, Vladislav Delay's Rakka, and Oval's Scis though there's still a lot I want to check out in this arena.
Meanwhile, here's the data from my Spotify "wrapped"
Top 5 musicians: Ariana Grande; Built to Spill; Autechre; Carly Rae Jepson; and Andy Stott
Top 5 songs: Grande's "thank u, next;" RP Boo's "Back From the Future;" Lizzo's "Truth Hurts;" Small Black's "Photojournalist;" and Burial's "Truant"
Top genre: Freak Folk
So, if I had to nail down a top 10 for the year at this point, it would be:
Kang Tae Hwan, Kang Hae Jin - Circle Point
John McCowen - Live @ ISSUE Project Room (w/ consideration for Two Energy Cops at 3AM)
Judith Hamann - Music for Cello and Humming (w/ consideration for Days Collapse and Shaking Studies)
Ellen Fullman & Theresa Wong - Harbors
Sarah Hennies - The Reinvention of Romance (w/ consideration for Spectral Malsconcities)
J Pavone String Ensemble - Lost and Found
Sergio Merce - en pensar de lugar
Macie Stewart & Lia Kohl - Recipe for a Boiled Egg
Joanna Mattrey - Veiled
Angharad Davies, Klaus Lang, Anton Lukoszevieze - unfurling
Some entries I'm also considering include Amplify 2020: quarantine, Polwechsel's Unseen, James Tenney's Acoustic Phenomena/Hymnic Sounds, Jeremiah Cymerman's Systema Munditotius, vol 1., Autechre's PLUS, and Charles Curtis' Performances and Recordings 1998-2018. Except the Autechre, that's nearly all in the jazz/classical vein; some things I consistently returned to outside of that include Julianna Barwick's Healing Is A Miracle, Mary Lattimore's Silver Ladders, Laura Cannell's The Earth With Her Crowns, Vladislav Delay's Rakka, and Oval's Scis though there's still a lot I want to check out in this arena.
&
As usual, I don't recognize a lot. Glad to see stuff like Delphine Dora and More Eaze/claire rousay getting recognition. Glad that distinctive solo instrumentalists like Mary Lattimore and Heather Leigh are still remembered, but odd that past favorites like Julianna Barwick and Laura Cannell are absent. I enjoyed PLUS significantly more than SIGN, but how can you evaluate one so highly and omit the other? Also, for a publication that highlights musicians trying to explode boundaries coming from a rock perspective, its few jazz picks are a little too inside, though I suspect Parker, Alcorn, and Wooley's SSM will be popular picks for jazz this year, along with Halvorson's Code Girl, Anna Hogberg Attack, and Ent'racte, with an outside chance of Matthew Shipp, Jeremiah Cymerman, or Tashi Dorji showing up.
It's not even December yet... That being said, this list is a banger. Well, at least the 50% of it that I've heard. That Soft Pink Truth album is a gem.
That's just how December 1st be now.
Looking forward to Bandcamp's list. They've been m y favourite year-end list since 2016 or so. No TMT this year is a bit of a shame...
"I'm reverse ageing, some people may think I'm drinking adrenochrome, this is some lean, I'm tryna defeat a cold, I'm reaching a pinnacle, they said I'm breaking the penal codes, I'mma need my penis and my ego stroked, I'm not tryna play the hero role, 'cause the hero ain't the shit but meat on a gyro roll."
Stop, they're already dead. _________________ 2021 in full effect. Come drop me some recs. Y'all know what I like.
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