"After giving this a half-dozen more listens, I've got a few thoughts: As has been mentioned, DAMN. asks the question "Who is Kendrick Lamar?" We think we know Kendrick. And we do, don't we? This is that Compton kid, that Section.80 kid, that good kid, who broke out of his M.A.A.D. city with one m...""After giving this a half-dozen more listens, I've got a few thoughts:
As has been mentioned, DAMN. asks the question "Who is Kendrick Lamar?" We think we know Kendrick. And we do, don't we? This is that Compton kid, that Section.80 kid, that good kid, who broke out of his M.A.A.D. city with one mission: To give back. And how does Kendrick Lamar give back? By doing his best to give life, hope, and power back to his community, back to his black brothers and sisters. Is it enough? Fox News doesn't understand him. He's exhausted by the work. Blind women might shoot him dead if he's at the wrong place at the wrong time when he's just trying to do right.
Why do we demand great things from Kendrick Lamar? Kendrick Lamar is not shy about comparing himself to Jesus, albeit implicitly. The complement to DAMN., I'm finding, is none other than Kanye West's My Beautiful Dark Twisted Fantasy: Another record about a distinct personality aiming to be understood. Kanye West is a brilliant, frustrating genius. On MBDTF, he asks that we forgive his humanity. DAMN. is coming from the other direction. We put Kendrick, King Kendrick, on a pedestal--one for which he did not ask. But he'll do what it takes to keep his family secure. He'll be the example his nieces and nephews need. He knows he's lucky to be a success. Yet, why can't he make mistakes? Why can't he let down his principles once or twice? Why can't he do a Maroon 5 feature for other reasons than to make some side cash? What does Kendrick Lamar owe us, if anything at all?
DAMN. may not be a great record. Personally, I think it falls ever so short. Maybe that'll change for me. What I do believe is that, for once, Kendrick Lamar gets to tell his story. It doesn't have to be for Tammy or Keisha. It doesn't need to be about Compton. It doesn't need to be about the black experience in America. Maybe it's because he finally gets to speak to his wants and concerns, about his own well-being, that this, while not Kendrick's best work, is maybe his most important as an artist, because DAMN, it's really hard being Kendrick Lamar."[+]Reply
"I have been slowly convinced that this is not just a masterpiece of pop, but of music as an art form. It is currently in my top ten. I never would have expected a modern chart-pop album to end up in my top ten, but there it is. It's so fine tuned, so well crafted, so monolithic at its most powerf...""I have been slowly convinced that this is not just a masterpiece of pop, but of music as an art form. It is currently in my top ten. I never would have expected a modern chart-pop album to end up in my top ten, but there it is. It's so fine tuned, so well crafted, so monolithic at its most powerful and so desolate at its most... desolate? Maybe its because I come from a rock background (basically an anti-pop background, really) but I feel like I don't have the right vocabulary, lexicon, even mindset, to talk about pop music correctly. It's spoken of in different terms. Reading pitchfork reviews alone can tell you that talking about pop is just different. What makes pop pop is its ability to tap in to a more primal, immediate enjoyment, it seems. But even that sentiment seems wrong. Oh well. I'll have to resign myself to saying its the best darn album I've discovered this whole year, and leave it at that.
95/100 (Superb)"[+]Reply
"Catchy. Soulful. Heart-warming. Hand-banging. Brilliant. This is my favourite album of 2017 and it's not hard to see why. While previous Tyler releases seemed to operate purely on the basis of outrage and provocation, "Flower Boy" is the first time Tyler *truly* sounds like himself. The first Tyl...""Catchy. Soulful. Heart-warming. Hand-banging. Brilliant.
This is my favourite album of 2017 and it's not hard to see why. While previous Tyler releases seemed to operate purely on the basis of outrage and provocation, "Flower Boy" is the first time Tyler *truly* sounds like himself. The first Tyler Okonma record, if you will.
The themes of lonliness, isolation and heartsickness are not new to Tyler's lyrical arsenal. The only difference here is the execution and careful songwriting. Even when Tyler is at his most volatile and bombastic (see "Ain't Got Time" and "Who Dat Boy") he still sounds tempered and controlled, a far-cry from Cherry Bomb.
In my personal opinion, Flower Boy" outdoes DAMN. and Big Fish Theory on the basis of it's soul. The record is disconcertingly personal (Tyler often sings of his ongoing loneliness and battles with depression) without Tyler coming off as a prima donna or the record being a huge bummer. Despite the subject matter, "Flower Boy" is a surprisingly summery record.
This is the record Tyler needed to make and the one that will cement his name as one of the most important simger/songwriter/rappers of this decade. "[+]Reply
"Slowdive is one of my personal favorite groups, and their comeback record was absolutely magical, so I came into this record with an anti-#1 bias when it came to ranking it.... ...but keeping it out of my handful of favorites for this year would be simply delusional on my part. It's really fuckin...""Slowdive is one of my personal favorite groups, and their comeback record was absolutely magical, so I came into this record with an anti-#1 bias when it came to ranking it....
...but keeping it out of my handful of favorites for this year would be simply delusional on my part. It's really fucking good. "[+]Reply
"A pleasant surprise. "Star Roving" is one of my favourite songs of the 21st century. Here's hoping that Slowdive will soon have another album in the BEA top 1000. Oh, and by the way, I respectfully disagree with those of you who claim that the last 2 tracks bring this album down. I especially lov...""A pleasant surprise. "Star Roving" is one of my favourite songs of the 21st century. Here's hoping that Slowdive will soon have another album in the BEA top 1000. Oh, and by the way, I respectfully disagree with those of you who claim that the last 2 tracks bring this album down. I especially love "Falling Ashes"."[+]Reply
"Ever since I heard the Glow Pt. 2, I've always found Phil to me relatable to me. It's safe to say I'm a pretty melancholic man, myself. I don't show it to people I know in person, but I am not afraid to express it anonymously online (who wouldn't). But since I was a wee lad in high school to now,...""Ever since I heard the Glow Pt. 2, I've always found Phil to me relatable to me. It's safe to say I'm a pretty melancholic man, myself. I don't show it to people I know in person, but I am not afraid to express it anonymously online (who wouldn't). But since I was a wee lad in high school to now, I've always been a romantic. Love and relationships mean the world to me. So when I heard this album for the first time, I was tearing up at the lyrics almost immediately. The combination of having a melancholic mind and an intense passion for love made me get hit HARD by this album. Seriously, I cannot fathom having your true love just taken from you like that. How could you cope with the emotions? "[+]Reply
"This is undoubtedly a very very good album. After a couple of listens I know It's going to get many more rotations before I've wrung it dry of all the subtle (and not so subtle) elements within. And this is what makes a great album - being able to keep you returning to it time and again so as to ...""This is undoubtedly a very very good album. After a couple of listens I know It's going to get many more rotations before I've wrung it dry of all the subtle (and not so subtle) elements within. And this is what makes a great album - being able to keep you returning to it time and again so as to improve upon the experience with each listen. SO far I've barely touched the surface of the lyrics and composition. Vying with Fleet Foxes for AoTY so far."[+]Reply
"I'm hesitant to say that this is their best album, purely because "Sound of Silver" & "This is Happening" were both exceptional records, however I do believe it is. "American Dream" is a masterpiece in the genre they carved out for theirselves, yet it takes risks like never before. The percussion...""I'm hesitant to say that this is their best album, purely because "Sound of Silver" & "This is Happening" were both exceptional records, however I do believe it is. "American Dream" is a masterpiece in the genre they carved out for theirselves, yet it takes risks like never before. The percussion is more atmospheric, yet the production feels more intensely layered than ever before. On top of that, the lyricism has gotten even more smarter and self-reflective and Murphy's deadpan delivery perfectly matches it.
The first four tracks are uniformly great, but the album really starts to morph into a brilliant, beautiful beast from "How Do You Sleep" and never looks back. This is one of the albums of the year; every single track, every single aspect throughout the 68 minute journey, is exemplary."[+]Reply
"Father John Misty’s “Pure Comedy” serves as a reminder of the artist’s unique voice in the field of modern folk rock. He delivers a blend of humor and retrospective sadness into a package that demonstrates how he—and at least, I—view the world in its present state. Clever songwriting with an impa...""Father John Misty’s “Pure Comedy” serves as a reminder of the artist’s unique voice in the field of modern folk rock. He delivers a blend of humor and retrospective sadness into a package that demonstrates how he—and at least, I—view the world in its present state. Clever songwriting with an impassioned message, melded with prime production and instrumentation, creates a project which has grown on me with each subsequent listen.
Josh Tilman, Misty’s “man behind the mask”, has no qualms with questioning and criticizing the problems of society, through his fictionalized perspective of a man wandering through a barren city proceeding the collapse of humanity, to his blunt summarization of the whole of humanity in the titular track. One of my favorite tracks from the album, “When the God of Love Returns There’ll Be Hell to Pay”, Tilman assumes the role of a defender of mankind’s mistakes and flaws to a metaphorical “God of Love”.
The instrumentation of the album is strong throughout, with the exception of a few tracks. In what will likely be the most divisive track on the record, “Leaving LA” is a sprawling, thirteen minute self-reflection by Tilman, reviewing his grievances with the music industry, his pseudonym and himself. While the track has plenty to chew on, narratively speaking, it lacks a sense of progression or complexity in its sound, which Tilman addresses in the lyrics of the actual song, aware that the extensity of the tracks runtime, paired with a lack of resolve, may lose him a number of fans. The only other track I find personal flaws with would be “Smoochie”, which has a tasteful Southern twang and an enjoyable performance by Tilman, but lacks the same snappy lyricism that permeates the rest of “Pure Comedy”.
The track “Total Entertainment Forever” is a stark observation of the presence of media in our lives with a backing band reminiscent of Billy Joel. “Ballad of the Dying Man” is the perfect summarization of those who dedicate their lives to plaguing internet message boards with negativity or unnecessary “white knighting”. “Two Wildly Different Perspectives” and “Birdie” utilize a more technological soundscape, differentiating the tracks from the rest of the album’s folk rock vibes. The former addresses opposing views (political, social or otherwise) which may be perceived as highly contrasted, but hold similar values at their core. The latter holds a strong political message while providing an excellent crescendo, musically, which is a welcome commonality of the album. “The Memo”—a track which required a number of listens for myself to appreciate—contemplates perception and advertisers, and an audience which may believe to understand an artist or their work, but in truth, knows nothing. “So I’m Growing Old on Magic Mountain” and “In Twenty Years or So” finally address death and the future, where Tilman expresses the importance of acceptance in the way things are, and stresses that we enjoy life as it happens, no matter the outcome. Both of these final tracks contain gorgeous orchestral movements atop the soothing croons of the masked Misty.
Tilman’s personality is very much a part of his music. Should you disagree with his views, or what may occasionally come across as patronizing, there is plenty to enjoy sonically. Personally, I adored the album, and will likely rank it as one of, if not my favorite, albums of the year. 9/10
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"This was an unexpectedly overwhelming listen, first off this is not only a proper evolution from Helplessness Blues, this goes a step further Taking ques from genres like Musique Concrete, Psychedelia, Chamber pop yatta yatta yatta It feels like looking at a Sistine chapel being painted in the sk...""This was an unexpectedly overwhelming listen, first off this is not only a proper evolution from Helplessness Blues, this goes a step further
Taking ques from genres like Musique Concrete, Psychedelia, Chamber pop yatta yatta yatta
It feels like looking at a Sistine chapel being painted in the sky on a cool autumn day on a rocky Oregonian beach
I love it!"[+]Reply