"Did not expect the album to blow me this out of the park. The amount of amazing tracks on the album is unbelievable. When you think the cannot surprise you anymore, the next incredible track arrives. Cried like three times during my first listen."Reply
"As this site's #1 and possibly only Charli XCX superfan, I will say: this album showcases the best of Charli XCX's interpretation of the hyperpop genre and should be recognized along with the rest of her solid body of work as some of the best experimental artpop of this era. The lyrics range from...""As this site's #1 and possibly only Charli XCX superfan, I will say: this album showcases the best of Charli XCX's interpretation of the hyperpop genre and should be recognized along with the rest of her solid body of work as some of the best experimental artpop of this era.
The lyrics range from personal and introspective to max cringe, but what else would we expect from Charli? She has brought out the best musical ideas from AG Cook and Sophie. She complains about being "almost famous" and the lack of commercial success, but Crash was her most successful record and an absolutely phenomenal record but didn't have what made her sound so great from her "core" PC Music sound, this one has everything crash has (Talk Talk) and also the HIFN craziness on the instrumental like Club Classics. Here's hoping more people who like Lady Gaga's Chromatica, or Magdalena Bay's Mercurial World, to check out Charli XCX.
"I want to dance with me when I get to the club"
Ship it"[+]Reply
"When Vampire Weekend reformed and released Father of the Bride in 2019 I was just glad that my favourite band in my teenage years could still produce fun and exciting music, even if the output was a bit less consistent in quality than the stuff I'd grown to love years earlier. Only God Was Above ...""When Vampire Weekend reformed and released Father of the Bride in 2019 I was just glad that my favourite band in my teenage years could still produce fun and exciting music, even if the output was a bit less consistent in quality than the stuff I'd grown to love years earlier. Only God Was Above Us is a different prospect altogether, we're back to a shorter 10 track structure with each of these brimming with ideas and none having the throwaway quality of some of FotB's worse tracks. There's something else though, I've always found something very warm and reassuring in the band's earliest records and I'm finding it here as well, the baroque pop of Capricorn or Connect feels like the natural next step from Don't Lie and Everlasting Arms. It's a tough quality to completely describe but there's an effortless feel to these tracks, as though they simply grew from the emotions of the band members and the city setting. Maybe losing the pressure of delivering for a big comeback album has helped the band out or maybe they've just fully adjusted to Rostam's departure, either way they really feel back to their full powers here.
Through their early records, the improvements in the lyrics really charted the band's overall progress. The self-titled's sometimes anxious commentary on campus life gave way to something more emotionally resonant on Contra, before Modern Vampires of the City took the elaborate lyricism that the band were known for and twisted it into something strangely evocative and profound. Only God Was Above Us comes in at a similar level, there's lots of lines that I couldn't totally explain to you, but I could tell you how they made me feel. It's strong musically as well, the quirks in each of the tracks still hold close to the overall feel of a track and never feel like they were thrown in to try to make a song more interesting. None of the tracks stand out quite as much as Classical, where the multiple tracks of percussion, warm keys and wilder guitars & brass blend in this beautiful way. Ezra's vocals, reaching that mournful but not hopeless place he's so good at getting to, really wrap it all up as one of the band's best ever songs. There's no stand-out bad or even lacklustre tracks across the rest of the record, but it doesn't reach this level again. I'm also not always 100% sure about some of the more dissonant elements on some of these tracks, the final moments of Capricorn are especially guilty of this, as one of the better songs here starts to fall apart under the weight of the sound. Still, these are pretty minor points to make about an indie band which has had to adapt to so many changes in the musical landscape while either on hiatus or between albums. As a teenage Vampire Weekend obsessive I think I built myself up for the release of Modern Vampires of the City more than I have for any album before or since, I got a pleasant surprise with these subsequent two releases where I held much less of an interest in what was coming prior to their release, but with this I've really taken notice again and will be glad to be back on the VW hype train when it next rolls into the station."[+]Reply
"A triumphant return for arguably the best band of their era. Yet, spending 16 years waiting for the right songs to come to them has been good for The Cure. Here, they are as refined and full of purpose as ever. Songs of a Lost World hearkens back to The Cure in their prime without being a carbon ...""A triumphant return for arguably the best band of their era. Yet, spending 16 years waiting for the right songs to come to them has been good for The Cure. Here, they are as refined and full of purpose as ever. Songs of a Lost World hearkens back to The Cure in their prime without being a carbon copy. Their familiar melancholy bolstered by robust production makes one wonder what this would have sounded like produced 35 or 40 years ago, but then it wouldn't have as much power. This is a singular entry in The Cure's catalog. Their best sine Wish and the only record of theirs since Disintegration without a single skip. Where most late period works remind us that artists are past their prime and often tarnish a strong legacy, Songs of a Lost World finds The Cure staking their claim. No one could do it and no one will do it better. "[+]Reply
"Only 2 listens in but just wow. DAMN. Kendrick dropping a surprise album! My knee jerk reaction is it's the best since TPAB but my official reaction is I shouldn't make knee jerk reactions and then post them on the internet, oh wait, that is literally what 90% of the internet is so here it is. Th...""Only 2 listens in but just wow. DAMN. Kendrick dropping a surprise album!
My knee jerk reaction is it's the best since TPAB but my official reaction is I shouldn't make knee jerk reactions and then post them on the internet, oh wait, that is literally what 90% of the internet is so here it is.
Those synths on Squabble Up?
I just hope this isn't all of SZA we see in 2024."[+]Reply
"As usual my old foagie ass only hears about albums that are apparently So Big Hype right now when there's usually some crass controversy surrounding it, and lo and behold that's where I first heard about this album and well curiosity of course still kills the elderly cat. Again I don't really car...""As usual my old foagie ass only hears about albums that are apparently So Big Hype right now when there's usually some crass controversy surrounding it, and lo and behold that's where I first heard about this album and well curiosity of course still kills the elderly cat. Again I don't really care about the terminally online arguments about them being Trust-Fund Nepo Babies, or Too Pretentious, or Too over hyped because they're g[don't at me]s who occasionally talk about sex and marketable feminist themes like it's a novel concept in 2024, again just put on the music and see how it vibes
And it's good. I'm glad that this actually pulls from some new corners of 80s fetishism and has some notable ambition to boot, and I definitely wasn't expecting the occasional detours into Jethro Tull style light prog or euro folk even if it's a bit of a underdeveloped and conspicuously extraneous detour, though perhaps expected in an album that blithely favours excess. The not-really-controversial feminist lyrics are fine but also, um, very very Collegiate White Girl Feminism, which kind of hinder the attempt at crafting a more underdog persona they're occasionally going for with this album. I guess to pointlessly add fuel to the worst argument against this album or the band's existence, the work's rather trite theme of "Men Have it All, If I were a Man SO WOUlD I!" probably would have a bit more sting if it wasn't coming from a place that sees the kind of privileges 99 percent of men could only dream of. Not really a huge knock that a first time band is still circling shallow waters on bigger issues, but it's an album works better when it leads into More straight-up bawdy art-school camp or is even genuinely a bit mysterious. More so that criticism kind of leads to how repetitive the overall songwriting can get, where the grand instrumental swelling and operatic bellowing seem to come in at far-too-similar intervals.
So it's good, still very beholden to it's influences like most debut albums and works better cut into large chunks, a promising first album that inevitably the hype has over praised and can kind of make the occasional wart seem more blatant up close. Still, I'll check back in round 2. "[+]Reply
"I've never been a big fan of this guy's voice, both his creative voice and his actual singing. And this time around the music is just way less interesting than any thing from black midi, whom I wasn't even really that thrilled with to begin with. I really like the drumming on the opening track, b...""I've never been a big fan of this guy's voice, both his creative voice and his actual singing. And this time around the music is just way less interesting than any thing from black midi, whom I wasn't even really that thrilled with to begin with. I really like the drumming on the opening track, but past that, I found little to enjoy with this project. But hey, if you like to indulge in this guy's music, more power to you. I'm just always less than enthused with most of his creative endeavors, sadly."[+]Reply