"Guys, I know it's been a slow year for major label music but let's calm down a little. Yes it's very good and frankly a little surprising. Lana was already an artist who I think a lot of people anticipated had a ceiling . She definitely breaks through the ceiling - but best of the decade?? Maybe ...""Guys, I know it's been a slow year for major label music but let's calm down a little. Yes it's very good and frankly a little surprising. Lana was already an artist who I think a lot of people anticipated had a ceiling . She definitely breaks through the ceiling - but best of the decade?? Maybe a few more listens and it could crack the top 10 for me but I'm not so hasty to herald it as the AOTY or AOTD. I read things like "It establishes her as one of America’s greatest living songwriters." thanks pitchfork.
Pros:
Music is very good for the most part, Venice Bitch is awesome, a lot of really smooth songwriting on here. I've always liked her voice and it's good on here. Very well produced.
Cons:
There's still a handful of duds. The sound is nothing new she is serving up what she serves up so if you didn't like her sound previously this isn't going to change that. The cover shortly after venice bitch immediately kills the immersion for me. She still can't write lyrics I care about. I still don't care about her (or her persona's) sex life.
It's good, it's got some really great moments. It's her best album and a great accomplishment. She was always an artist I liked and would defend but not really ardently. This can change that. But man review sites giving this a higher rating than In Rainbows calling it the album of the decade? I'm not there yet. Will listen some more."[+]Reply
"I wanted to, and thought I would, like this album more than I did. I do like a lot of it but I thought that I'd eventually love it. From the beginning, the influences are prominent. It's easy to hear Pet Sounds and All Things Must Pass throughout; especially on "Everyday" and "Something to Believ...""I wanted to, and thought I would, like this album more than I did. I do like a lot of it but I thought that I'd eventually love it. From the beginning, the influences are prominent. It's easy to hear Pet Sounds and All Things Must Pass throughout; especially on "Everyday" and "Something to Believe". I found most of the lyrics to be phenomenal. More than once, I felt like I was being personally serenaded. The ability to take such complex feelings and summarize them in a couple of bars without losing any meaning is indicative of the artist's talent. The album encourages a great deal of introspection in a way that I have rarely encountered before. The only problems that I had with the album are that the middle section of songs is a bit weaker than the beginning and end. I'm not a big fan of "Movies". At points on the record, I don't think the music is as good as the songwriting. That probably isn't exactly what I mean but it's similar. My favorite songs are "Andromeda", "Everyday" and "Picture Me Better"."[+]Reply
"Impressive vocals and unconventional sounds. This is a different kind of pop that I wish more people attempt. There is meaning in every song. My favorite songs are ones where FKA Twigs shows off her voice like in "home with you" and "fallen alien". The Future feature does not fit at all and is th...""Impressive vocals and unconventional sounds. This is a different kind of pop that I wish more people attempt. There is meaning in every song. My favorite songs are ones where FKA Twigs shows off her voice like in "home with you" and "fallen alien". The Future feature does not fit at all and is the only regrettable part of the album in my opinion."[+]Reply
"BRIT school alumni Black Midi are probably the most hyped underground indie/alt rock band in Britain at the moment. After a string of live recordings and singles, they have released a chaotic blend of This Heat, Silent Alarm-era Bloc Party, Slint and Daughters, channeling unorthodox structures, e...""BRIT school alumni Black Midi are probably the most hyped underground indie/alt rock band in Britain at the moment. After a string of live recordings and singles, they have released a chaotic blend of This Heat, Silent Alarm-era Bloc Party, Slint and Daughters, channeling unorthodox structures, eccentric vocal habits and obscure lyricism. While the band is clearly anchored by the unrelenting, cartwheeling Geordie Greep, it's apparent that every member contributes towards songwriting responsibilities. Fronted by bassist Cameron Picton, 'Speedway' is a low key highlight with it's intuitive crescendos and drops and deceptively simple chord progression. Elsewhere, guitarist Matt Kelvin helms Years Ago, which builds tension in it's suspended-in-animation verses before dropping into pummeling choruses driven by angular guitar riffs, blistering hi hats and incomprehensible, gutteral screaming.
Translating the dynamism of their live shows to the studio was always going to be difficult, and unfortunately everything other than drums has been mixed in a way that sounds cluttered, flat and squashed with the guitars of Greep and Kelvin tugging against eachother for breathing space. This may be aesthetic choice (Greep has been quoted as saying his favourite records are those where the artists are still finding their way around their own songs), but it's also possible the lack of clarity in the mix is a missed opportunity. Aside from this, an incredibly satisfying and promising debut from an exciting (and incredibly noisy) band."[+]Reply
"It pains me to rate this album so low. Not only is it a heartbreaking, deep look at loss and mourning, but it's also really beautiful. The shimmering synths sound just like the cover looks - alive and crisp. But there's just too much here, and there's not enough variety. The first couple songs ar...""It pains me to rate this album so low. Not only is it a heartbreaking, deep look at loss and mourning, but it's also really beautiful. The shimmering synths sound just like the cover looks - alive and crisp. But there's just too much here, and there's not enough variety. The first couple songs are great, especially "Bright Horses." I had to stop listening after that one when I was at work for fear of breaking out in tears in the middle of the work day. The opener finds Cave in a mode that he's often in on this album, spinning abstract stories out of really specific, familiar components. Nowhere does he do this better than on the closer, "Hollywood," which is one of the 5-10 best songs he's ever written. It would be in that club even just with the first half, but the second half, and it's heartrending story where you can tell Cave is nearly in tears during his falsetto as he's both assuring us it gets better while also begging that things will get better, absolutely pushes it over the top.
So yeah, it's a shame that for the most part the rest of this album is so samey. I probably like every song here, but listening to it all in a row is, frankly, a chore. There are tremendous moments that catch you off guard, like "Mama Bear holds the remote, Papa Bear just floats, and Baby Bear is gone to the moon in a boat." These moments pull you back in as you're drifting off, but the great moments like this are too spread out in minimal repetitive passages. This album is a landmark and a career highlight. But unfortunately I have no desire to hear it again."[+]Reply
"The best album of 2019. It's bold, emotionally compelling, aggressive, genuine, hard-hitting, and everything that I could want from a rap album. Each song provides something really interesting or appealing to the table. The first two tracks are really in-your-face and immediate, with some fantast...""The best album of 2019. It's bold, emotionally compelling, aggressive, genuine, hard-hitting, and everything that I could want from a rap album. Each song provides something really interesting or appealing to the table. The first two tracks are really in-your-face and immediate, with some fantastic hooks. The production on both of these tracks is really gritty and loud with some really distorted bass lines, screeching sound effects, and fantastic drums. The best part of these songs is Simz personality, which is really apparent through her lyrics and performances. Selfish provides a beautiful feature with a fantastic and introspective opening verse about the role that her ego has in her life. The track Wounds has some beautiful piano instrumentation with a very eerie trip-hop beat and emotional vocal performance. Venom is the most intense moment on the album, with some really striking violin arrangements and rapid-fire bars from Little Simz. 101FM is really psychedelic and nostalgic, with fantastic ad-libs and amazing stream-of-consciousness lyrics that really show Little Simz personality in a clear way. Pressure is one of the most mature and serious tracks on here with some fantastic synth production that really makes the track sound like it's swirling around you. Little Simz provides an excellent verse about the current political climate the really lets you see life through someone else's shoes that would be difficult to see without music. Therapy, again, is an incredibly mature and excellent track. Sherbet Sunset and Flowers are absolutely beautiful, both tracks finish off the album perfectly. "[+]Reply
"VV still know how to make top-quality pop without reservations, and if anything, they've perfected their craft even further on their latest release. If it can be compared to the White Album, it's White Album made by Paul Simon in his prime. A bit stripped down compared to their previous work, but...""VV still know how to make top-quality pop without reservations, and if anything, they've perfected their craft even further on their latest release. If it can be compared to the White Album, it's White Album made by Paul Simon in his prime. A bit stripped down compared to their previous work, but not any less catchy. The Melanesian choir I've always loved from "Thin Red Line" is sampled within the first minute, and it gets better from there.
If you pay attention to the songwriting, though, it's a reflection of the difficult times we find ourselves in. In fact, I caught myself thinking that some of the duets with Haim could well become wedding dance staples, if not for the lyrics, for they are hardly "sunny". Harmony Hall in particular is existential angst in this age of increasing hate, that we have all experienced by now, even if we don't share Ezra's heritage. What he has to say is more direct and relevant than being bored on Cape Cod ten years ago. This is where pop music needs to be right now."[+]Reply