"When I started listening to this album and was midway through Chaos Space Marine I thought to myself there is no way they can keep this level of quality up for an hour and they really proved me wrong. They have decided to change their style up from the first album and create a more grandeur sound...""When I started listening to this album and was midway through Chaos Space Marine I thought to myself there is no way they can keep this level of quality up for an hour and they really proved me wrong. They have decided to change their style up from the first album and create a more grandeur sound and it really pays off. The rich instrumentation is a joy to listen to and so in depth that you can keep coming back and exploring more which is such a difficult feat to accomplish. The keyboard on this album is brilliant and is utilised just right to create the effect they are going for. The string arrangements are delicate and beautiful but also quick and aggressive and they aid in some fantastic tempo switches. Then there is the wind instruments which are performed phenomenally and are vital to this album as they create a lot of the sonic landscape on most tracks. Finally, the vocals and lyrics are outstanding and Isaac has massively improved his penmanship and vocal control. He weaves his way through his words creating a brilliant narrative on every song he is on and slowly builds up to these grand conclusions that are very rewarding for the listener. There is a lot of risks and experimentation on this album and I think it really pays off with the music sounding so rich and luxurious. There are no weak tracks and this album is consistently stunning. Overall, you could tell from their debut that this group had so much to offer and this demonstrates exactly that, as this record is just incredible. It is unfortunate to hear about Isaac leaving the band as this group is oozing potential and if they carried on the way they were going they could possibly be the greatest band of all time and possibly create the greatest album ever recorded as this one comes very close. "Reply
"Holy shit. I didn't think anything would possibly beat Ants From Up There as my AOTY and now I find myself faced with an incredibly difficult decision. Right now, I genuinely think this might be the best album of the decade. At first I thought this album had lows, but after a few listens I realis...""Holy shit. I didn't think anything would possibly beat Ants From Up There as my AOTY and now I find myself faced with an incredibly difficult decision. Right now, I genuinely think this might be the best album of the decade. At first I thought this album had lows, but after a few listens I realised it's just that the highs are so high some of the best songs I've heard seem weak in comparison.
After repeat exposures, I can no longer even point to the best song here, as my bias to Eat Men Eat and Welcome To Hell has worn off. Hellfire is one of the best album openers I've ever heard, with Greep's showman-like fast-paced greetings and rantings literally welcoming you to hell. The album then launches into the best 3-song run I've heard since The Place Where He Inserted the Blade through Basketball Shoes, starting with Sugar/Tzu, a song very much in the same vein as the two singles - a detailed, graphic tale of the worst humanity has to offer.
The album slows a little with the appropriately titled "Still", the only other song on this album featuring vocals by Cameron Picton, and boy do I wish they'd let him out more often. The cryptic lyrics and smooth delivery remind me of MGMT in a way. The track switches things up several times, with a quiet acoustic middle and a soothing ambient ending that fades into a locked groove loop reminiscent of the way the Beatles closed off Sgt Pepper. Half Time serves it's purpose well as a breather between the two longest tracks on the album and a cheeky reference to black midi's alter ego the Orange Tree Boys. There's also a bit of morse code in there which I can't wait for someone with more patience than me to translate.
The Race Is About To Begin kicks the 2nd half into 1st gear immediately, continuing the story of a character previously introduced in Welcome To Hell. Despite being the longest song on the album, it never settles into a groove, shifting and changing every minute, becoming more chaotic as it becomes a descent into addiction, madness, and shacks. Like Still, it ends on a quieter note, with a delicate ballad that reminisces on how people can change.
Dangerous Liasons, The Defence and 27 Questions form another trilogy of songs mirroring the first half of the album, each telling a story of the worst of humanity - A man tempted into murder with promises of money, a brothel owner attempting to justify his trade, and finally the closer 27 Questions, in which an audience revels at the suffering of a dying man. This song is a great way to close the album, with a show-tune style section that recalls the opener and passes a number of philosophical (and funny) questions onto the listener.
In conclusion, Black Country, New Road and black midi have both released masterpieces this year. This feels like the logical conclusion (or perhaps a new phase) of the new British Post-Punk scene that's cropped up since 2016, with it's two forefront bands releasing what will be remembered as two of the greatest albums of all time. No pressure Squid."Reply
"After hearing the live versions of these songs I was just grateful that Jonny and Thom were able to come together and have fun collaborating again with so much passion, creativity and energy. Now, listening to the recorded version, I’m reminded that Nigel Godrich is that extra element that always...""After hearing the live versions of these songs I was just grateful that Jonny and Thom were able to come together and have fun collaborating again with so much passion, creativity and energy. Now, listening to the recorded version, I’m reminded that Nigel Godrich is that extra element that always ties the genius’ together. Tom Skinner also holds his own amongst the highly esteemed company he keeps. There is haunting beauty, political cynicisms, electronic and percussive tinkering, and garage rocking, making it a very eclectic mix. Does it make it a less than cohesive album? Maybe, if you’re picky. This and the fact that 6 songs were drip-fed to us prior to release make it have the feel of a compilation album in some respects. I’ve always preferred an album have one single prior to release, as a taster, before immersing yourself into the full experience of fresh songs and letting that album experience grow on you with repeated listens. This doesn’t detract, however, from the fact that there is a collection of songs here that are all absolute crackers and will keep Radiohead fans content for a while longer until that deeply desired next LP comes around."Reply
"For some reason I thought they were Scandanavian Yeah this is plenty all-right, a lot of aughties-era deja vu, but certainly peppy and well-produced even if this feels far too overhyped at the current moment. At least there are enough engaging tunes (though some wide misses as well) to make me fo...""For some reason I thought they were Scandanavian
Yeah this is plenty all-right, a lot of aughties-era deja vu, but certainly peppy and well-produced even if this feels far too overhyped at the current moment. At least there are enough engaging tunes (though some wide misses as well) to make me forgive the "ur so woke/diet coke" line. "Reply
"First listen was quite underwhelming, it took me a week to appreciate it as a whole by paying closer attention to the small details of each song. Production is amazing and aesthetic is very strong. Weirdly enough, to me it sounds like a combination of TBHC and AM. Not a bad album, it impressed me...""First listen was quite underwhelming, it took me a week to appreciate it as a whole by paying closer attention to the small details of each song. Production is amazing and aesthetic is very strong. Weirdly enough, to me it sounds like a combination of TBHC and AM. Not a bad album, it impressed me less than TBHC: I expected more highs but there is no genuinely bad song on it."Reply
"One of my favourite things about music as an artform is the weird way in which forces that seem contradictory can be made to work together. This is definitely the case with Jockstrap's beautiful, twisted and unnerving brand of avant-pop. It took a little while for this to completely sit right wit...""One of my favourite things about music as an artform is the weird way in which forces that seem contradictory can be made to work together. This is definitely the case with Jockstrap's beautiful, twisted and unnerving brand of avant-pop. It took a little while for this to completely sit right with me, which is kind of surprising because I'd loved the duo's 'Wicked City' EP for some time before this. Maybe that record had given me slightly the wrong idea of what to expect, there was a euphoric smoothness to some of the tracks, but nothing that comes close to indie rock, when I first heard this and a track like 'Glasgow' came up I really wasn't sure what to make of it. A bit over a year on most of the pieces have fallen into place for me. The more guitar led tracks on the record allow a freedom from Georgia's vocals which is kept boxed in by the more rhythmic electronic tracks. It leads to an ebb and flow across the record as these almost disparate tracks just about hold together. The soaring vocals at the end of 'Neon' suddenly fall flat and the beats of the title track cut them off and warp them. The unsettling rush of lines that conclude 'Angst' give way to the open soundscape at the start of 'Debra' before that too becomes a structured pop tune with some incredibly wonky electronics. It's genuinely exhilarating stuff, especially when it all takes place on one track, like with 'Greatest Hits' which sounds like pop music from the future. Ideas just completely overflow from this track, the kind of thin sounding synths allow for massive vocal flourishes but work just as well for spoken word sections, the warped vocal constantly repeating the same two unintelligible syllables should be annoying but instead it's a key part of the track's rhythm, the backing vocals sound just that bit off as they reinforce the chorus before disappearing. It's the best of a number of highlight tracks which sometimes manage to be so good that they make decent tracks seem boring. There's nothing that wrong with 'Lancaster Court', but sandwiched between 'Glasgow' and '50/50' it just feels like it kills the momentum. With 'I Love You Jennifer B', Jockstrap set the bar so high, that anything short of a revolutionary pop track feels like a let down, it's not a bad problem for a record to have."Reply
"Wow such an impressive follow up to last years already modern classic ‘SIMBI’ ‘No Thank You’ wholeheartedly franks her status as the worlds best female rapper and for an artist so young the world truely is at Little Simz feet"Reply
"This album has everything, Beatle-esque songs, Flaming Lips weirdnes, the grandeur of War On Drugs, and a fantastic drive (Best Thing You Never Has even has a Status Quo boogie) sometimes mixed with a bit of country (Crazy). Only 7 tracks but all of them are spot on. And Nothing Hurt was the best...""This album has everything, Beatle-esque songs, Flaming Lips weirdnes, the grandeur of War On Drugs, and a fantastic drive (Best Thing You Never Has even has a Status Quo boogie) sometimes mixed with a bit of country (Crazy).
Only 7 tracks but all of them are spot on. And Nothing Hurt was the best album of 2018 and this is certainly one of the best albums of the year.
"Reply
"Everything about 'Harry's House' sounds expensive... and I'm always a fan of that!!! I also really liked the eighties Japanese city pop kinda vibe running throughout, with colourful lyrics, bouncing vintage synths and playful grooves; a record that doesn't seem to take itself too seriously on sur...""Everything about 'Harry's House' sounds expensive... and I'm always a fan of that!!! I also really liked the eighties Japanese city pop kinda vibe running throughout, with colourful lyrics, bouncing vintage synths and playful grooves; a record that doesn't seem to take itself too seriously on surface level, but is perhaps Harry's most introspective yet on closer inspection."Reply