Reviews 2
Approval 93%

Soundoffs 7
Album Ratings 1273
Objectivity 73%

Last Active 09-07-14 8:46 pm
Joined 09-08-13

Forum Posts 5
Review Comments 1,887

04.22.14 ...fuk 2 12.05.13 (??)? Ghost Boy? (??)?
09.15.13 @__@ Help Me

...fuk 2

WARNING: Initially, I wasn't going to create this. Was pretty satisfied with how people (surprisingly) responded positively to the original and just wanted to let it sit there alone as it's own "kidding around while still getting the point across" kind of thing. Plus I liked how my frame of mind was way less mature at that time and how I just sorta did it on a whim and wanted to keep it that way. But a good year or so has passed, lil ethy has matured (lol barely), and for some reason or another a few of his niggas started mentioning ...fuk around the streets, it's infamous legend echoed - the hood yearned for another hit... so being the O.G. suppplier I am.. i just had hit the lab and got mad sm0k'd so i could deliver the goods - you feel me dawgy dawg arffff arf? ...fuk will always be silly and all, but yo' on this sequel I'm attempting to see how well I can flesh out and properly express how I feel about a song/album, man that's so deep man - or what it's actual purpose is (for me) and how it has affected/will continue to affect my perspective on life/music. these aren't -all- of my favorite songs or anything, there's no way to properly rank 3000+ ...fuks properly (the top 15 are loosely ranked, i guess) - they're just moments in songs that have impacted me heavily heavily heavily on my musical (balloon) journey so far that i wanted to put ideas on to paper/notepad/list. they are ones that i feel as though i could express properly/talk about without sounding absolutely insane cause i've picked up all of this from myself/the internet and idk the way stuff is composed at times is just something that's felt more than properly expressed (unless you're on your shit with your music talk// !!!!!!!! btw if you can correct me or know anything that im getting at here with time stamps PLEASE TELL ME cuz i really want to learn and i'm very aware that more than half of these instruments/phrases i've attempted to define are complete shit so PLEASE call me out on it (if you can) so i can!!). As you can tell, it got way out of hand. Lots of thoughts/ideas here that just ran through my mind when deciding to write out ...fuks that i thought some people might appreciate peering in on. some of these i rarely listen to anymore and are based off of memories/past experience but i feel as though they deserve a huge tribute due to their significance (to me) so i put them in. my taste has changed a good amount since i began writing this (1/22/14) and i consider this list more of a documentation of what i discovered this past year alongside some lifetime jams than a definite reflection of my current interests. also I apologize for the lack of CLASSICAL but that kind of stuff is real hard for me to put into words since i know practically nothing in music vocab - (I plan on grinding on a lot of classical knowledge/music in the near future though, so if you have recs throw em' my way). Anyways, THIS IS MY LIST - so it's gonna get ++personal++reflective and possibly CrAAzzYYyYY/long winded and wanky AS FUCK (cause i actually care about music, WHOA!!!) (also LOL!!!) so if you are feeling too COOOL to read THE LIST i've SLAVED CENTURIES OVER (or don't like reading a bunch of instant ideas thrown at a screen and/or dislike reading bi-polar writing/drastic demeanor shifts) right now I suggest you head on over to the endless carbon copied greatest, best of albums of all time ever featured endless staff/contrib 2013 lists and proceed in killing yourself. For the rest of you beautiful souls, prepare to get ...fuk'd harder than you've ever been ...fuking ...fuk'd before. [In celebration of 2222 ratings, I present 2 you ...fuk 2] (was supposed to also be released on 2/22 but i'm like a month+ late cuz life/lazy boy/orange juice spilling on laptop from friend who didn't screw on lid properly, etc)____ Oh, and if you want to read the original ...fuk? It's here: []
100Sonic Youth
Bad Moon Rising

What better way to jump into things than Brave Men Run (In My Family)? I mean, Bad Moon Rising in itself is straight ...FUK'D to begin with. Notice the emphasis on the caps in ...fuk'd. To try to get across my point properly just look at the tracklisting, we've got songs literally called, "I'm Insane" on here and then two tracks later "Satan Is Boring" wtf??? uMmMMmm weirdDD???// yes, very weird. also perfect. also niggas. also fuck off if you ever actually jammed imagine dragons. That's what sonic youth was trying to say here in a way, I thinK?? lol prob not but hmm let's see the whole collective mood of the piece of work as an album and as a collective piece of work in an album as an album album reminds me of that one kid who was super smart that you knew in school that always did everything the right way handed in his hw on time, etc but got shit on and bullied for absolutely no reason then out of the corner of your eye you'd see him like secretly pulling out the ouji board or something at recess and trying to straight ritual summon demise, king of armageddon from his hand with a classmate as his tribute out of spite. bad moon rising is some DARK shit, dude. it's not playing around at all anymore, it's tired of this earth and it wants to do something REAL evil REAL soon. oh noooo. nooooooo. You know it kinda also reminds me of Majora's Mask's kinda evil if you ever played that as a kid you'll know exactly what I mean??? Oh well if you don't well cover that later don't worry there's lots to cover in ...fuk 2. Hmm is this a good attitude to start ...fuk 2 with? are you pissed @ the immaturity?? oh well haha ...fuk u. it comes and goes. I love this album a lot, mood is definitely hard to replicate. Damn, I haven't even described Brave Men Run (In My Family) yet so here we go. Brave Men Run (In My Family) starts everything up just right with that gorgeously aggressive guitar melody following the intro and the pounding drums never letting up - then when they really start grinding around 1:21 and everything gets a bit jumbled but that one guitar line kinda escapes out of it all near 1:32 that's when you know, duuude ...fuk, duuuuude. A real reason i love this song in particular so much is just cause of how much of a polar opposite it is compared to all the others, so positive and confident - the album is a whole is completely brilliant, and a lot may deem it as inconsistent with lots of "filler" but idk i feel like it stretches out perfectly because that's sorta what this album set out to do - it's uncomfortably blissful late night/solitary listening for sure. might even scare ya a bit omg sp00ky. Brave men works well as an opener cause it encourages you to keep listening to it if you don't entirely "get" the whole album at first due to how just undeniably serene the sounds through the melody are presented. Bad Moon Rising is underrated as ...fuk and that cover art??? ....FUKKKK || song/album: || mood/vibe: confidence, desperation, chaos, marauding?, angsty lil bitch
99Ben UFO

THE mix to multi-task to. Pull out Halo 2 right when Twisted Ballons starts and you're jamming for like a good twenty-fivve minutes. Two matches, dude. Seventy 360 no- scopes. Perfect amount of things going on to where it's at that sweet spot of an equal between your focus on the music and whatever else you want to do. Or you could just go out with people and dance to this idk I mean I would if people were down. All the way to up to like I'm Strong it just does not let up. You won't stop. You can't stop. Twisted Ballon's beat is so dirty lmao ...fuk, WHY IS HE USING SUCH STRANGE SOUNDS SO WELL? Crazy how well-versed he is with unconventional sounds/beats, makes me think Ben UFO is the type of dude who just sat there and tampered with those little BZZzzzZZZzz da-ling-a-ling-aling door stopping things that you have in the restrooms as a kid for hours or would pull out the pots and pans as a kid and start beating with wooden spoons. It's Okay features like some donkey konga congo jungle drums with probably some of the coolest sampling of handclaps i've ever bounced to. Project 5 - What? Is he? What is he? What - is he? ON. ON ON ON. TELL ME. ...fuk. This drum kit has been carrying the team for like ten minutes straight LOL damn niiiice, uh oh we're whirrrring whirrrrrr whirrrrrr - swervvee @___@ we're in that Pendulous time-frame now, you can get psych3D'd out to the rest. This is a continuous ...fuk so I'm not gonna explain what's going on anymore since it's apparent to just vibe to lmao. Release deserves a lot more attention then it's getting though. Wah wah wah wowwwww (take me back, take me back) *draws back/fades out like song does into Looser* man, that pounding on looser with that synth hits the spot too well ...fuk || mood/vibe: Take-back __ Take me back___ Take-back __ EVERYTHING'S BLUE IN THIS WORLD || song/album:
Ridin' Dirty

One Day you here baby, and then you're GOOOONE. Nothing tops that smooth/shimmering intro breaking off into the track w/ those humming/wailing vocals at :25 ...fuk. Nastiest beat to open up an album, UGK is too mean. Lyrics make you stop to appreciate a nigga too, bunch of these clown sitting here trying to pull a bitch in talking noise off the bat but UGK ain't about that shit. Listen to these lines so much truth here... this man got put out at FOURTEEN. Nothing but street knowledge straight out of Texas, put this on and take a trip to the south. Production on this album's way too slick and always feels like it's emanating that humid/sweaty ass heat, check out that switch from Murder over to Pinky Ring ...fuk. Lol, absolutely no time to prepare yourself for that groovy hook - makes you do a double take "who skipped the track!??" nah, the real question here is WHO does that kind of sequencing anymore? Diamonds & Wood's introduction that narrates the hate/jealousy within your block but finishes with, "Fuck 'em" and when that BEAT drops in synchronization of his dismissal? God DAMN. The elasticity of this bass along with the screwed/chopped elements of the chorus ...fukkkkk. Every verse spit kills, Pimp C's my fav - puts the message of the track out perfectly, "Flipping through the Ave, tryina see some good. But everythang is still the same, in my neighborhood. Niggas frown when you up, and smile when you down. And when you change for the better, shife fools stop coming around. I see the jealousy and hating and the wicked ways. We all lost children, praisin' paper, smoking our life away. Got to the point where I could not decipher day from night. She say she love me, but all we do now is fuck and fight.". Letting the track breathe a bit/taking away the deep bass and letting a whole new rhythm from a different sample jump in at 5:08, or 3 In the Mornin's jazz lounge ...fuk out the coda - subtle creative shit like that is what makes UGK one of my fav groups in the game. They've got various ways to relay their message too, sometimes it IS literally fun and games - we've got joking tracks like Fuck My Car and Pinky Ring on here and man shit later on they went to create that good-vibed/peak of life/marriage blessing; International Players Anthem along with Andre and Big Boi. Makes them feel like they're ALWAYS around down here, they symbolize the south's sound - stamped it for an eternity. THE Underground Kingz. || song/album: || mood/vibe: Live from da mother fuckin' pen nigga, it's ya boy Smizznote. Motha fuckin' D, understands me? ___R.I.P PIMP C___U.G.K 4 LIFE
97Bill Evans
Everybody Digs Bill Evans

Lucky to Be Me is timeless. Every note hit feels so purposeful, effortless and rich. Not only in the manner it's composed, but in the way it's played - which makes all the difference here; Bill Evans has only composed Peace Piece and the Epilogue tracks on this (Everybody Digs). Detail to sensitivity and great harmonies, a friend of mine who majors in jazz referred to him as a pianist with, "Spirit Fingers" lol I liked that one a lot. I haven't gotten around to learning the piano thoroughly yet (though I will) but anyone can just listen to that recording and tell how well acquainted he is with the instrument, the amount of affection he puts into his playing - how soft and quaint certain notes are emitted, or how bold and impassioned certain areas are recieved.. it ...fuks me way hard. Certain tracks you'll discover throughout life and instantly be awestruck by, this ranks among the highest in that experience. Instantly grabs your heart and never lets go, one of the quaintest tracks I've ever heard. Reminds me of my Grandpa who always played the piano and other instruments. He was the only musician I've ever known in my family, the type of man who was interested by absolutely everything - always seeking knowledge to share with others. Demeanor was always quiet but he had such a wise presence throughout a room, and he never went out of the way to cause another harm. I remember him taking me down into his basment/study area and always showing me artists/musicians, teaching me about instruments or computers (he was insanely passionate about them, looking back now for good reason) among various other things. He knew I loved music and attempted to teach me piano but I was so young at the time (3 or 4) that it didn't hold my interest long enough to beat out the nearest N64 controller. When I was seven he passed away, and since that time has been the only member of my immediate family that has. Deaths when you are young are so strange, I remember being incredibly upset but moving past it almost instantly. Today, I would do nearly anything in the world just to speak to him again. For some reason or another my Nana sold all his instruments (Piano, keyboard, sax etc) except his accordion - which she brought down last Christmas through surprise and showed to me. Kind of a shame that it couldn't operate properly, but it was a nice gesture. Bill Evans looked just like him. 3:13 of Lucky to Be Me, how that coda unfolds.. completely unnecessary - he could have just ended the song right there but he squeezed just a bit more of his tenderness out. All of his tracks have such a warmth to them, in the first ...fuk I mentioned sitting next to a fire while my Dad would smoke a cigar on Miles Davis' "Blue In Green". Bill Evans' "Peace Piece" is a track that I love hearing near Christmas. It just has that mood where everyone around you is in great spirits because of a holiday, that serotonin feel after being full from turkey. 6:15 ...fuk, kinda reminds me of Joe Hisaishi's opening to "One Summer's Day" from Spirited Away. Man, all the tracks here are wonderful but Evans has a way with focused/slowed down vibes - that attention to detail, all the time in the world to make his notes felt and known, "Epilogue" and "What Is There To Say?" are also fantastic. "My Foolish Heart" ranks among one of my favorites from him as well. My soundoff I made on "Waltz for Debby" when I discovered it here is pretty funny but expanding on that thought of sophisticated/relaxed/giddy mood and how it places you right in your nearest 5-Star dining room it feels as if you're doing it not for yourself - but another, that appreciative love/going all out for the "reserved section" because you care about a loved one and want intimacy and privacy.. not to flaunt. 2:12 - when it opens up, and of course 2:52 of that song ...fuk. || song/album: || mood/vibe: (on My Foolish Heart Video) aerosmithvincentcool2 years ago in reply to kojak1969 @kojak1969 For me, the best song to play while i kiss my girlfriend is asking alexandria closure!!! :) zer o6 months ago I wish all you pretentious people with your scenic comments would just fuck off and quit tainting my music
Future Days

BEL AIR. BEL AIR. Review Summary: a concoction of subtle jamming, complete aural bliss. KILL - August 5th 2013, Report this Post. Album Rating: 4.0 - xXchillinXx. Why is Bel Air perfect / / why why why why why why why. Like, idk wtf kind of a feeling this even is. Sedation??? Number 4 after the dentists tells you to count down from 10? Heavilyyy psychedelic, but barely any abrasiveness so smooth - just right... the drums and guitar effects are in like a perfect equilibrium. That voice omfg 6:45ish drum solo is SO good, every crash/rhyhtmic beat feels so intact with what needs to happen. And all these buzzing synths jumping in with these harmonics omfg wTFF :" ) seriously just wtf great job, Can. The eight minute mark and on is soooo good, 8:24 hits and you're just done ..........fuuuuukkkkk. Easily one of the most soothing moments I've found in musical history. I feel like I'm putting some kind of mint in my mouth or something idk, there's definite HEAT here but it has such a cooling effect. OHHH uhhh like that Vicks you rub on your chest when you can't stop coughing???? Yeah, that sounds kinda close. Or that Icy Hot stuff that i used to rub on my legs when growing pains were a bitch, like if i ATE that shit and it didn't kill me the. Completely gone, this song is as euphoric as my ass getting up and walking away from ...fuk 2 (HELP: THIS IS TAKING FOREVER) . The way that guitar ughhhh omfg cosmic shit this is out of this world dudes. And that BREAK to REALLY just sit and appreciate the chirping of the birds of NATURE??? whyyyy does this song do everything i want?? whyyy. ....fukkk. Such a soft intro from his voice around the 10:25 mark, then how it amplifies and gets so tropical/breezy and much louder as it progresses - a lot more brighter. Drums are completely FLAWLESS, this is the definition of perfect percussion... Yessssssss. YESSSSS. Hall's Fruit Breezers - TROPICAL WAVE. Certain points of this song could go on for hours and I would be fine. "Spinning down alone, spinning down aloooon, spinning down alooone. You spin aliiiiive." ...fuk || song/album: || mood/vibe: Now this is a story all about how my life got flipped turned upside down and i'd like you to take a minute just sit right there and i'll tell you how i became the prince of a town called bel air
95Shiina Ringo
Muzai Moratorium

*drum intro/screeching guitar* AWWWWWWWWWW YEAHHHHHHHHHHHH HAAA HAAAAAAA awoooo AHHH AHHHHHHH AHHHHHHHH ...fuk. I'm telling you, RIGHT when I heard that I knew it was a wrap/done deal and I would be a Shiina fan til' I died. Addicting Pop/J-Rock, basically... not a moment is wasted - I think the main reason why I liked this so much off the bat was just how new it all was to me at the time. A friend of mine wanted me to try out yugioh with him/i was exploring a little bit of japanese culture, watching hunter x hunter (first anime) all that good stuff. Muzai Moratorium was just the soundtrack to all of that in a beautiful spring, plus all my friends loved her as well which was a bit surprising/a great bonus. I've seen multiple reviews/users around music websites calling this just "simple" pop- rock, as if there's something wrong with simple music?? I don't see how this is bare at all, there's tons of various genres at work here blues, noise, j-rock, etc. I can understand hearing this album last in her discography and thinking it's not as well off as her others - but this is definitely a strong release full of positive and joyous energy. I love how she randomly starts singing in english on track 5, i feel like it gives the music a bit more effect - kinda catches your ears off guard and makes you give more of an astute listen to what's going on. Tracks 3 and 9 are the real highlight here though, her intros to her songs are always on point - the third track's piano + harmonica (???) whisks me off to some jazzy gangsta's paradise boppin' along ...fuk and TRACK nine just showcases like my #1 soft spot for songs EVER. stripped down/simple MONSTER of a jam, voice + acoustic guitar + violin, see how creative/fun/personal you can get ms. SHIINA. and GUESS what, dudes? SHE KILLLLLSSSSSSSSSSS IT. listen to the strain in this woman's VOICE, that diction -- and that violin at 2:41??? ...fuk ohhhh HELLLLLLL yesss. ily forever, shiina!!!!!! || song/album: || mood/vibe: wish i could put some cute little anime emoticon text here but this site's ...fuk'd on anything that actually is relevant in 2014 internet technology so i think this will suffice:
94The KLF
Chill Out

You get to a point in Chill Out where you could probably start to question what the FUCK you are doing listening to it. I'd take a guess at probably around the :52 mark of Dream Time in Lake Jackson, where you begin to hear singing that's vaguely similar to my nigga Oidupaa Vladimir Oiun and high pitched frequencies similar to the ones those computer monitors made in school that "adults can't hear". You could turn off the album at that section, but you glance over to the title once more; "Chill Out". Chill out. See what awaits throughout the rest of this, aren't you curious? Madrugada Eterna zips in with soft car-horns and whisks you off to a field behind a pasture, just like the one depicted on the cover art. Blue-grass guitar playing that comes straight from the soul, topped over a cyber synth from the future. Rigged relays run past your ears, from the left headphone all the way to the right. Vocal samples blotched throughout it all, a squiggling synth waves around in the back starting at 4:30 - bringing forth all concentration and stress; evaporating the latter. Everything's now tunneled, you're in complete focused thought and relaxation. "Come back fat as a rat! All the way down the east coast. Come back fat as a rat! If ya need me baby. If ya need me baby. Ii-i-if ya need me baby. When the SU--U--NNNNN-NNN goes down!" ...fuk. Sequenced into a news broadcast of a boy making a poor decision and passing away from a drag-race accident. You feel concerned but still placid, all the various layers/effects from the track have now convinced you that you've left Earth along with the boy. Chill Out uses every trick it has in an attempt to allow you to give up yourself. Become blank. Allow everything heard to be a new or first experience. Instead of quickly jumping to judge or scrutinize, let it naturally sweep in and out like a dream or wave. Time will be well spent if you allow it to. Around the :51 mark of Elvis on the Radio, Streel Guitar In My Soul (specifically 1:06-1:12) we're met with some speedy little micro-melodies behind Elvis' cooing voice that in fact do hit straight to the soul ...fuk. 3 A.M. Somewhere Out of Beaumont sets up with some sound effects that would be later brought to light in Bomberman Hero, a constant cymbal tap rhythm hits up - we're met with vocals stating, "After the land is gooone" - 3:09 sets up some marvelous magnification of like a liquid bubbly/sunshine orb - 3:41 has this liquidiation/cooled pull, 4:11 begins the dub with tons of energy - like something massive is about to burst off and finally become kinetic, a few sheep "baas" are heard from across a field - kids playing at recess all before pulling into Wichita Lineman's synth line. Maybe it's the airplane departing from the shuttle, maybe it was all the potential energy being stored from 3. AM Somewhere Out of Beaumont or maybe it was just Chill Out having it's listener under a spell from the moment it started - but when Wichita Lineman's synth line begins on this song everything is at a complete ...fuk. That preacher man we encountered earlier, he's here again - but this time? Completely ready to inspire. "All the way down the east coast! From Boston down to Atlanta, Georgia - I torn down the east coast!" dub's back too, this time driving the song to it's max potential "Do something to help you! Do something to help yourself!" The synth melody that ...fuk'd us earlier is now in complete rejoice - it's melody is growing passionately, 2:22 deep bellows in the back ...fuk. "Come get your mojo, hey! Go down to Atlanta City and be a winner! Go down to Atlanta City and come down fat as a rat! Why would you be a loser when you can be a winner? Yes man, yes sir!" Melody jumps right back to stabalize that inspiration. "Get on the telephone! Call 50 of your friends! Call some friends that need some help! Doctor Williams in the Bronx New York". Synth again. You're so drawn in by this track that every single time you HEAR it, it's entirely effective. "Straight straight hot hot red hot. Big money blessed cash nobody stop these suckers. Not even the devil in hell can't stop it" ____ "I'm getting ready to leave you now. I want you to know I L-O-O-OVE you! I'm talking to you, big baby! I'm talking to you, sugar. I LOVE you." before trailing off into a blurb from a infomercial advertisement supplying a special phone number for a special gift. Wichita Lineman Was a Song I Once Heard is the focal point of the album. The KLF conjure up an abundance of opportunities and flash them across your face throughout their ethereal trip - begging you to make your own interpretation out of it. With the perfect companionship of music, making it nearly impossible to ignore. It's the kind of track that makes you want to get up and create, DO SOMETHING. After it's all over - the album kinda has nowhere left to turn other than finish off with what it initially presented. The Lights of Baton Rouge Pass By, a cool hum kinda ...fuks around the 2:18 section to the end. A Melody From a Past Life Keeps Pulling Me Back does EXACTLY what the title expresses with ethereal waves and seagulls sweeping in from abroad, has a vintage-feel deep within the mix.. heavy nostalgia ...fuk. Rock Radio Into the Nineties and Beyond along winds all the static down to a halt and you're met right back with how it all started in Alone Again With the Dawn Coming Up. An abrupt ending leaves you lying down wherever you decided to click play - unfamiliar with the silence of a room or the sound of a friend's voice. Completely Chilled Out. || song/album: || mood/vibe: Can't believe this was released twenty- four years ago. Field recording/ambient mix - deep solitude/introspection. Completely reflective of your own state of mind, can evict soothing and delicate vibes or nervousness and paranoia. It's all up to your interpretation, a fun experience.
93New Order

There was this particular album I heard in the back of my uncle's car as a kid.... Late night car drives on the highway as I looked out the window I thought to myself, "Wow, these dudes are really jamming." ...... "Wtf, was that frogs?!?!?" ... and was bopping too hard to really ask who it was.... ||| SKIP AHEAD SIX YEARS ||| - -- 17 year old ethos is in his emo boo hooo i have a job now and no time for friends or music or really anything ugh all i have is ...fuking college and college sucks ...fuk this shit phase. He finds Joy Division during all of this prob at the best/worst time to find Joy Division. WINTER FINALS. Nooooooo, I didn't studdyyyy and i never did my work that was due on finals day. JOY DIVISION was eating away at ethos' soul - he was about to give up ... it's all over .. fuk it al... just like ian curtis r.i.p. ire, but he loved the music that's a fact. Closer > Unknown that's also a fact but ummm Unknown is real good not gonna lie i mike like it more sometimes when i wanna jam disorder on the fly. So let's get back to the story... ethos is just moping around his room ...... ready to pull a Voice, Books and FIRE 3 all over his arm - - - when he searches "Joy Division" on sputnik's database... hoping to find similar artists. thinks to self, "Ok, i've heard all of those but what is this new order band yeah that sounds real pitiful im sure i'll fail finals even harder now" - - - downloads substance -- .... ... .. . *listens to ceremony and immediately becomes normal happy/laughing ethos again* ___ PROBABLY THE BEST SONG EVER ___ nahhh jk but close.... *gets to Temptation* "I'VE HEARD THIS BEFORE SOMEWHERE" god that song is like probably the flirtiest cutest male lead happy anthem ever too ... nahhhh.... but jk but close -- "Up down, turn around! Please don't let me hit the ground!" ...fuk - - "ooooohhh you've got green eyes..." ...fuk also trainspotting i guess sup. Man hearing substance for the first time was like all kinds of scattered memories meeting up for a huge party. AND BLUE MONDAY WAS WHAT THOSE MEMORIES WERE JAMMING TO. hooooOOOOoly SHIT now THAT's the kinda track that can't be forgetten like omfggg YESSSSS - - RIGHT when it started but :26 is when it really got down. That song's a CLUB HIT surely. Then im like wtf the rest of these tracks are good and all but i dont think they stack up to the first 4 -- WRONG.... Perfect Kiss starts.... *little congo intro plays with clanks and cuts* ......... *:48 keyboard/synth kicks in as the double layers start overlapping each other* ////// *that deeeep dub kinda beat starts jamming* ok this chorus and these glitzy metro synths are prety cool i can dig it for now i guess but i hope something happens soon.... alright this breakdown is PRETTY sick wow around 4:33 ...fuk uh oh... WHAT'S THAT??? noo.... nooo.... *frogs start ribbitting behind one of the coolest shimmering moon-light synth ever* o.m.FGGGGGGG .. THIS IS IT!!! ...FUKK!!!! THIS IS THE SONG!!!! ... ...@___@ COW BELL!?!??! oasdjfioasdjfoiSDfijooijaklsdf yesssss THAT inflating SYNTH at 5:58 while introducing that beat we had at the intro???? ...fuuuuuukkkkkkkkkk.... SO MUCH genius layering going on here i think they're bringing previous songs into this jam session??? WOWWWW left headphone guitar line is rocking, this is way too good - - then it all hits a slow down/halt train stop kinda like kate bush's cloudbusting ...fuk that she dropped on the world in '85 btw CLOUDBUSTING IS !!!!!!! -- also wtf was that Beefcake Drei's UNTITLED # idk lil gremlin/sheep voice there at the end??? WTF????? || mood/vibe: ethos jams all night to other albums after substance then goes back to substance and says ...fuk the final studying then somehow passes bio final with a 91 anyways could have sworn i was gonna get a 20 when i was taking it i think it was a winter christmas miracle not sure wow that professor must've loved new order or something || song/album: (disc 1 owns, disc 2 is cool... i GUESS)
92The Max Levine Ensemble
OK Smartypants

*clicks play* "I believed in you that night.... your maybe slightly drunken eyes, and i won't forget how you smiled when you were waving me goodbye. And i thought 'if a moment really lasts forever, we'll take the streets and run off together, write books by rearranging letters of the few words that we know" ...fuk HERE WE GOOOOO BROSSSSSS asdiofjasdofiSDPOKFpokdf ... GET READY *guitars do vigorous things* >>> u blow up from the amount of sheer youth in ...fuk entering your soul
91Animal Collective
Spirit They're Gone...

I was like a good month before turning 19 when I found this. From that point on, nothing else mattered. Album embodied sounds and ideas correlating to nearly everything I was going through at the time, the first spin it immediately hooked me and never let go. Before this, I had only heard Merriweather, Strawberry Jam and Feels (was already a huge fan of Animal Collective), but Spirit made me make take a huuuge double take on the perspective of how to approach music as an art (at times) instead of always entertainment. And that probably was due to how it's themes of childhood, "growing up", young-love/relationships, and weird kinda spirituality bliss were all scattered throughout each song and how each and every one hit like a truck emotionally through the music. I related to it really hard and seriously wanted to like become this album, I couldn't stop repeating it. The lyrics felt as though they were mainly just THROWN randomly into the sounds as a type of guide/direction - the imagery evicted through them is like dolphins + chocolate milkshakes + angels and young happy stuff -- so so so perfect for how this paracosm of an album was stirred up. I remember skipping class in college just to listen to it and memorize every note, it got really bad (jk really good - EVEN BETTER). From the static/innocent-longing intro that leads into the absolutely perfect drum intro for april and the phantom -- - - "PHANTOM PLEASE PUT ON MY MAKE UP!!!... i am breathing, i'll keep calling" on April and the Phantom, THE SONG that got me into noise/industrial (the beautiful Untitled track) which sounds like a deer gasping for air -- and only achieving it ever so often - from being strangled to death in the middle of an enchanted burning forest - sparks of light shooting from every which direction.. uhh that song is so so good but you gotta be in that type of mood, to the church bell-y laced glittery intro (masked wayyy behind the main melody) of penny dreadfuls with that super sly slick simple "perfect percussion" drum beat behind the piano line, panda's SAVAGE drum solo and those cymbal crashes .... god and that extra kick he dishes out at 8:06 on chocolate girl after avey's voice slowly grows softer and softer perhaps from being mezmerized from his own jam, the guitar tempo increase on la rapet plus "the birds are calling for you... please don't follow" and the drum/synth firing away and reloading FOR MORE, 3:00-end of the bat you'll fly is fucking..... (shoutout to sKE$AAAAAAMESSSSSSSSSS), all the way down to the crazy spastic intro of alvin row to the charged rush avey's piano celebration that flies into the "RAHHHHHH" near 5:49 ugh, ALVIN ROW IS JUST OUT OF THIS WORLD - THIS ALBUM IS SO OUT OF THIS WORLD GUYS I SWEAR. if anyone would come up to me and be like yo what album could define your personality (and i didn't name something i made or would make) it would be SPIRIT THEY'RE GONE, SPIRIT THEY'VE ...fuk'N VANISHED straight up no doubt ayyyyyyyyyyy. ANIMAL COLLECTIVE ANIMAL COLLECTIVE ANIMAL COLLECTIVE ...FUK ...FUK ...FUK ...FUK ...FUK ...FUK || song/album: || mood/vibe: youth, MAGIC, fluorescence, GLOWING, energy, bright, fun, I feel so elusive in Houston - You feel so exclusive in Houston
Let the Truth Be Told

"HOLD UP A MINUTE IM DA KING OF DA GHETTO" OHHHHH SNAPPP this my shiiiiiiiiiit cuzzzzzz!!!! Man, ...fuk I can't write this. Too white, too much Arthur Russell. I'll just let my niggas from Houston in the comment box of youtube do the frontin': Dispatchone Jalamneh1 year ago, "IM FROM THE SOUF BIIIIIITCH". ___ teezybaby6623 years ago, "MAIN I CANT SAY IT ENOUGH IF U DONT FEEL RO U AINT REAL DATS ALL OR MAYBE U WAS BORN WITH A SILVER SPOON IN YA MOUTH AND NEVER BEEN THROUGH A REAL STRUGGLE!!!!" ____ HollywoodTexus11 months ago, "Respect TX beeeeeeetch" ____ SSF9792 years ago, "shit ill tell u why ro aint on the wacC ass radio or the FucCn Tv. All that shit is controlled by fake ass niggas and hoes with demons and the devil on they side. Ro Aint about that fraud ass shit. He fears GOD! As we all should. Do some searchin and everyone will find out wut hip hop has turnd the world into. Zro aint hip hop hes Real. A man tryna make it in this evil world. But once we all gone and in heaven the only tunes gon be played is ZRO A THUG (true. hero. under. god)" ____ blundy025 years ago "i love this song but fuck all niggers" ____ 956j0nC5 years agoin reply to blundy02 "FUCk Y0U LiL biTCh" _______ Christian McAdoo aka ethos 1 second ago "...fuk" - - -- AND WE AIN'T EVEN MENTION Mo' City Don or I HATE YOU aka the best video on youtube i love you oltna, can read those comments for days die laughing every time aww memories with my bitch too bad i killed her cause i hate her. Z-Ro's 2 throwed my nigga.. Paul & Lil Flip as well - and if u wanna spit some shit u best be ready to throw some hands. || song/album: NevefSZzE || mood/vibe: Cuz we from the SOUUUUUUTHHH and we got them diamondz in our MOUTHHH
89Tom Waits
Rain Dogs

This was the first album I found off of Sputnik! I'm guessing five or so years back, when I was fourteen/fifteen. Didn't know you could CLICK on album titles or their cover art LOL I just went off of ratings right above votes to check out an artists discography. Also was in the dark about USER reviews existing, because I only read featured staff ones off of the front page.. but that didn't last for long. Maybe a month or so, whenever I finally hovered over a title/cover and discovered a hyperlink. Fun fact, Rain Dogs must have been none of the first albums put in the database because ratings go so far back that they're no longer even dated. I lurked for a while before finally creating Ethics in '11. But anyways, Rain Dogs was one of those "classic" albums sitting super high in rating/on the charts and I figured I would check it out. For some reason back then I was heavily into 80s music, I would scroll down charts and find anything well recieved there and check it out. When I first heard it Rain Dogs was NOTHING near what I was familiar with, rough/dark greasy jazzy vibes with one of the most distinctive voices I had ever heard - like a growl lol, certain songs had me laughing cause of how off-putting I knew it would be to others.. but I was so interested in it all because of it being unfamiliar. Singapore and Clap Hands drew me in off the bat, so catchy and slimy lol I loved listening to it's New Orleans vibe - the lyrics were so fun trying to decrypt. Cemetery Polka seemed like a demented circus - kinda goofy and fun but it's motive was way corrupt. All the stories to the song were so awesome, as a kid I felt like I was exploring a bustling city throughout this whole album, I would imagine the album's setting like a dark dimly lit alleyway in the rain - there was so much murk and gloom, alcohol/greed and bars.. basically the adult world. And I could just go into any of those places without anyone kicking me out or asking questions. I started to understand things that were normally off limits, i.e. alcohol and why people threw themselves into it when they deemed their lives as "unfulfilled". Had an idea that it what I was doing was sneaky too (while listening), which I liked a lot because it was discovering a whole new emotion that I could tap into without experiencing drinking or gambling, etc directly - cause I knew there was no harm in listening to it; it was only gaining knowledge from these imaginary lives Tom Waits played out within Rain Dogs. I loved how I was getting a "sneak peek" to growing up which I felt as though other kids weren't experiencing but always wanted (I wish I was older, etc) and it was so much fun because it was music! Had such a melachonic mood to it too, like it was attempting to finally claw out of the muck and mud they put themselves in only to find yourself right back in it time and time again a never-ending cycle. Now that I think about it... I remember hearing this and wanting to start a band desperately, telling myself, "I'll never amount to the mood/themes conveyed here! I want to be ahead and start now!" I don't know what happened to that idea LOOOOL definitely should have sooner but whatever that's already in motion and we're in the green now. Cemetery tunes, all sorts of bizarre instruments I didn't know about thrown around, Rain Dogs was a HUGE album in my life - I'll never forget exploring around and experiencing all of it. Everything about this album seemed perfect for my mind at that time - how accessible the songs were but how much variation they all had, and how quick they were. Musicianship was obviously incredible as well, so it built a strong foundation for what I would get into later on - and what I deemed as "good". Time hit me hard as a kid. I remember it drawing me in... sitting and trying to understand at what he was getting at cause it seemed so important and upsetting, I was so convinced that whatever he was saying meant the world to him - I wanted to know why. 9th and Hennepin scared the fucking shit out of me like cockraoches crawling by, ughhh it had such a paranoid and creepy old/worn-out and saddened mood. Nothing surprises this guy anymore, does he still want to live? "The girl behind the counter has a tattooed tear 'one for every year he's away,' she said,"__ "I've seen it all. I've seen it all through the yellow windows of the evening train." Sent shivers. 9th and Hennepin was like a gate to the second half of Rain Dogs' city; the off-limits side of town that I rarely stepped into whenever I jammed this, the song gave off the vibe that the rest of the album would eat me alive. Whenever I gained the guts to make it to Downtown Train I immediately got ...fuk'd like a train. That synth creeping around in the back of it all, it felt like a trip out of the city back to somewhere SAFE and secure the way it grew the whole time. I loved the little snap from the drums into the next section at :37 the guitar notes that introduced themselves around the chorus and how his voice grew in strength as he continued to question. How the guitar notes that were introduced earlier gained a lot more freedom and started to just vibe out to the song fully. Probably one of the most nostalgic songs on this entire list, as well as this whole album - I love every single song to death.. they've aged so well with time and really show that worth whenever I decide to show them attention in revisiting them. Anywhere I Lay My Head has always been my favorite along with Time, it's the only closer that can bring this all to it's proper end. There's so much honesty behind the way he yells, it's all so desperate... almost homeless but certain. It sounds defeated but still in control, in complete understandment of itself and the way life has tossed it around. It's been crushed, "the wind has blown cold" - and at times there's no where to go; but it's still here. It's still living and it still has to. I love how it doesn't end on a sad note either - the rambling jazzy funeral band flies in and jumps about in a drunken shakiness seeming like a celebration before finally releasing and fading off. When Rain Dogs finishes I always look at the album art and think of a grown-man who keeps trying to make something of himself but always falls back and has to rely on family to hop back-up. That condescending laugh, as if it knows he'll be right back again shortly within time - too gullible to make it anywhere in this world without continuous trial and error. But somehow I get this smug feeling that he'll be alright. He knows his trade - he's done it all before, he'll make the best out of it eventually. Or he'll continue to grudge through it laying his head where he can until the end. || song/album: || mood/vibe: Rain Dogs has this charm of connecting directly to the defeated or sullen/down and reminding them that they're not alone. It acknowledges the corruption of the world and somehow dashes in hope through that acknowledgment. A "strength in numbers" kind of concept, perhaps the more people aware.. the less niggas in the shitter. Urban Dictionary (lol): A Rain Dog is a dog caught in the rain, with its whole trail washed away by the water so he can't get back home. A stranded dog, who wants nothing better than to get home. People who live outdoors, people who sleep in doorways, loners knit together by some corporeal way of sharing pain and discomfort.
88Sugar Plant
Happy/Trance Mellow

Goodness. The slow breathing, roasted marshmallows dissolving in your mouth I want a girlfriend so i can feel Butterfly Kisses - Bob Carlisle at night kind of goodness. "Happy" is immediate joy, any fan of my bloody valentine needs to jump on the sugar plant train as soon as possible, like it astounds me how captivating these melodies/loops are.. true display of musicianship going on at it's finest here - and when that synth starts to creep in around 3:04?? dawg you are ...fuk'd so hard im just sitting here smiling thinking about u getting ...fuk'd. Gian showed me the track, "I Was You" a while back and it's stuck with me since then as hard as it did when I first heard it. hypnotizing warmth, ughhh and the "oooohs" from the backup vocals charge the song so gorgeously. the way it takes off at 2:28 is a dazzling ...fuk and following the synth is just effortless, it's such a seamlessly created song - could heal anyone really and strips away stress almost instantly. there's something mystical about sugar plant, they've injected some genuine emotion in the formula here and it clings to you off the bat, despite it only being like two or three musicians?? everytime i spin this i hope that gian's doing well, it takes me back to when we first started forming a friendship here around seven months back through talking about dilaudid (coincidentally this song feels like it in a way). he's a great dude and i miss him a lot ...........fuk || song/album: || mood/vibe: ...fuk i miss gian
87Washington Phillips
The Key to the Kingdom

It's funny how quickly some people will jump to criticize gospel music, or not even give it an honest chance. Especially considering how positive and good it is.. like, where's the harm? What's "Open the Eyes To My Heart Lord" specifically doing to hurt you... what could it even begin to do? As a child church music bored me to no end - I rarely felt the same kind of ...fuks within me that I did throughout everything else I jammed. Kind of immature, but I always questioned God (thinking gospel music should be nearly perfect due to the celebration of God's glory/word), I never understood why it was so terrible or why I couldn't connect. Washington Phillips changed that. The answer was obvious, I just allowed the misconception of God's supposed "presence" in music vague up a definite answer. Which is what it's always obviously been; people enjoy/look for different things within sound, everyone's different. That couple duo wrenching their heart out honestly on stage - just because it didn't hit me, doesn't meen it won't inspire the next. Let them enjoy it for what it is while I move on to find something for myself that does, why would I want proclaim my distaste to strip away someone's enjoyment? I've found that anything religious always goes hand in hand with remarks containing insincerity, lol people need to get over themselves. Like I mentioned earlier, "Wheres the harm?". It's qualities like these found in avid music listeners that tear me apart and drive me away from associating myself with the label. Thankfully the benefits of exploring it all heavily outweigh the negatives, I just feel as though that music is something so beautiful that hypocrisy or "jading" similar to the aforementioned shouldn't even begin to be associated with individuals who invest a portion of their lives partaking in it's art. The Key To the Kingdom was first introduced to me as a child, my parents would fly down to Grandmother and Grandfather's nearly each Christmas to catch up with my Dad's side of the family (back when I lived in Canada). These recordings, leather couches, a sun-roof and great times are the strongest memories that come to mind. She owned so many antiques then, quaint snow- globes, wooden dolls, vases/glass and of course family photos. The introduction of Lift Him Up That's All brings me right back there when I was young, sitting in that den and enjoying playing along with my family. Those first thirty something odd seconds, particularly at :27, they feel so rich and inviting - step into the church and start new direction for your life. This man's been moved, there's so much certainty here; the type of Christianity presented by Washington Phillips is what I'm all about. Discovering this compilation two years ago and hearing that celestephone again... nothing else like it. Strings nailed to a board and look at what it produces. Unbelivable. Play this low.. almost at a whisper, just let it slightly fade in as if it's from a distance; that's where the REAL magic lies nigga. Wtf I just let a nigga slip out in a Key To the Kingdom ...fuk oh well guess it's time to go crazy again. Oh yeah, Animal Collective did that cover/opening of the song before Purple Bottle!!! "I've got the KEYYYYYYYYYY to the KINGDOOOOOOMMMMMMMMMMMMM and the DEVIL CAN'T DO ME no HARMMMMMMMMMM" ooooohhhh the way Panda brings in that stutter ohhh boy im getting hyped "HARRMM HARMMM HARMMM HARMMMMMM" man this all rules why are the two connected this is AWESOME especially for my life - check it out: also check this out: now THAT's a church session i can get behind, nice!! lmao, HELLLLL YEAHHHHHHHHHHH!!!!! || song/album: || mood/vibe:
The Astral Traveller

Took me a while to appreciate ASC. Astral Traveller was just like .____. for like the first month or so whenever I tried to pick it up and give it a chance. Wasn't too familiar with electronic music either around this point a year ago. Cassini's intro seemed pointless and the repetition of it all didn't leave much for me to pick up. Wasn't listening to it properly though, it's all about soundscape - emphasis on picking up every little detail that ASC scatters around here for you to uncover, whenever you add all of that up the experience becomes more than worthwhile. Puts you in a real contemplative kind of mood - jogs your mind a bit, great music to run to. For some reason I used to see that album art as a dude surfing a wave with like ONLY his feet, idk some next level silver surfer kinda stuff - against a starry sky. It fit the mood better, cause I feel as though there's a lot of aquatic elements going on throughout this - how the textures of the synths jetted at points like specifically around the 2:24 mark in Lightyears. Speaking of Lightyears, if any of you dudes played Bomberman Hero as a kid that track has some SERIOUS Bomberman elements, and not just from like the drum/bass genre alone - like specific sampling right out of the first overworld of the game lol. 3:48 is prob my fav part of Lightyears, draws back and just floats on that melody - letting that bass kinda restrain the energy you get before making a huge leap, putting everything into proper perspective before jumping right into the main rhythm again ...fuk. I don't have a lot to say about Astral Traveller beacuse it kinda says it all for itself, any time bass starts humming deep - always the ideal addition to a track. Just right. It just allowed me to learn a lot more about what electronic/drum'n'bass musicians appreciated in their specific genre, and the elements that allow it to stand out from the others. It's infinite texture, imagine/create whatever you want and vibe out to it. || song/album: || mood/vibe: cooooooool
85My Bloody Valentine

"Do you believe in God, Christian?" ... "Yeah, first time I tried weed and listened to To Here Knows When by My Bloody Valentine - that's when I knew God existed." -- what I usually would tell anyone who asked a religious question when I was younger. That happened, but it wasn't the selling point on believing a God exists... I say that to just joke around/give respect to how incredible Loveless really is... because but that's the focal interest here, Loveless. The type of release I could talk about/listen to for days, the album is just incredible on so many different levels. The fact that nearly any avid music fan can pick it up (regardless of background), give it a bit of time.. and become obsessively addicted to it's texture or it's design... it's SOUND. That's what My Bloody Valentine did here, they created a SOUND. After six years of trial/error - getting boo'd off stages, shows being referred to as "the holocaust", spending $416,000 in the studio to create Loveless (nearly bankrupting their label), etc. - - - My Bloody Valentine was able to reach their potential, translating over any thought in sound to a direct emotion. Shields: "Most of the samples are feedback. We learnt from guitar feedback, with lots of distortion, that you can make any instrument, any one that you can imagine". Loveless came into my life when I had no-one. Near the end of my freshman year in High School. I had terrible cysts/puss/acne from medication I was taking, was out of school nearly two days a week due to my medical conditions (Crohn's), had close to NO friends - despite still attempting to be sociable/maintain a positive personality. I played tennis and listened to music. I tried to start conversations, but no one talked to me. Everyone just knew who I was and liked me, "the kid who laughs too much"... there was never a real connection between anyone though. And partly due to that, all I ever did was listen to music. ALL I EVER DID WAS LISTEN TO MUSIC. A girl took notice and asked what I was listening to one day. I showed her Loveless and she didn't like it - but that was past the point, we carried conversation past that - had a few laughs and I made a friend. When I hear Loveless now, it always reminds me of the relationship we spent throughout my first three years of high school. How at first, the notion of even having a girlfriend didn't exist in my mind - - I was too focused on myself (discovering music/tennis/smash bros). But as the years flew by, how close we actually became.. how we knew each other's likes/dislikes in and out, could pick any situation or environment and make it fun or enjoyable. We adored challenges, always laughed and we looked forward to seeing each other in various classes every day. I couldn't recognize it then, but looking back at it now - - I was in love. I felt it. Laying in the back of my dad's car with the sun-roof open to see the stars, drifting/back forth between sleep and consciousness -- listening to Loveless and thinking of her. How pink and sensual it all was, "Loomer's" instant switch off of the driven and Only Shallow... deep and sensual kind of mumuring, the coda's phrase from around 2:05 to the end - lifting all affection. "Touched's" instantly recognizable melody, but boundless intricacy :32's soft but rich red tone and how it all just gestured keen listening before meandering off and fluttering into the shimmering intro to "To Here Knows When" how at the proper setting/volume can immediately transport you to bliss, another world. Following the synth from the start, along with all the other various effects - but how it jumps up, how it all elevates and sounds so elated near the switch exactly at the first minute.. gushing more and more each time the vocals repeat - the added melody sweeping in at 1:30, drumkit's/chimes/bells, 2:49's wavering - the recognition of endless creativity within this sound: how when 3:10 hit and carried me off until it ceased to the coda I never wanted it to end. "To Here Knows When" confirmed all the various emotions that were running through my mind with her that night but in a lighthearted kind of whispy/transcendent way - "Sometimes" brought all of that down stomach-deep. Completely full. Nothing compares to each strum of that guitar behind that wall of reverb. Nothing has ever made me feel as close to the glow and tenderness of affection since that listen that night. When the light/bright pink - almost airy synth slips in at 1:39, at the perfect time - just when your mind needed a new direction to take - everything is refreshed. And how the strum and drop at 1:49 seems so much more purposeful, the song's growing - effort is being realized/shown. It taps deep, sends a type of "chill" ripple through your body, but not cold; complete warmth. Again at 3:33, that quick little fret afterwards - as the synth glides above it all and mimics pitch near 4:09 but for a brief second. How it winds down, the small melodies heard at 4:54 and 5:00 add to the song so significantly.. finally coming to a rest and graciously sputtering out. "What You Want" the first few riffs are transcendent. That masked melody from the synth near the intro seem like a type of light over a sea jetting off above a sea - complimenting the rhythm of the guitar flawlessly. Always loved the tightness of the drumkit on this too, how it switches over in sections in brief/quick spurts - 1:37, right back to what we were greeted at the intro - still as blissfully poignant as the first encounter. Magic. The song doesn't have to progress much because it's fine how it exists. Everytime that moment comes in, and how it's repeated again - pulling even farther out, begging every last bit of your emotion to be brought forth- at 3:48 ...fuk. Then it just whizzes and zips about in euphoria - calling forth thoughts of nature/fields - bliss/elation; and sunshine before leaving you to sit in complete awe of what you just heard before "Soon" gives a dance-y groove/gaze track for the ages and finishes it all off. Loveless was my favorite album then. At 15 I pitched it to anyone with open ears. Around three months ago I turned 20, I still recognize and remember nearly every "moment" I shared with her, similar to how I still recognize and remember every "moment" that Loveless gave to me. I still haven't had a girlfriend, thankfully I've changed enormously as a person (I mean not that I was a freak or anything intially but im talking much more physically/sexually appealing LOL that acne was absolute ass thank God for it going away) -- but my relationship regarding anything sexual has always been so strange. Since then there's only been one or two girls at max I've actively pursued - - or liked, even. Closest of friends -- insane mutuality/understandment of each other, but any notion of "love" past the comfort of enjoying each other's company never came to fruition. Although I like the thought of it all, girls/sex/comfort has just never worked out in my life. Idk, I'm not like a person that can be quickly "understood" I guess... may take multiple listens if you hear a Christian McAdoo the first time and hate him idk maybe he WILL grow on YOU??? but NOOOOOO no one wants to sit down and listen to World of Echo with me no girls want that Tone Bone Kone shit in their life when they can get a free ticket to Frozen with some dude from anywhere of and at times that can suck cause I feel like I'm missing out but whatever I'm super sociable and have a tons of friends wow im so cool idk OMG idk omg plZ like me PLZZ LIKE ME omg im gonna get so depressed lmao NOT idgaf bitch I'm chillin I love myself I love what I do smd ghostboy. Fuck all this though on the real nigga im in no rush for pussy (soft as snow but warm side) anymore like FOR REAL nigga idgaf about anything i have no pride regarding those BLACK HOLES OF LOVE. Already wasted too much time on that bullshit, Sykor Sai knows the deal. I'm sure it's cool and yeah yeah whatever dicks on tits and ass but when it happens it'll happen. Until then? Music. || song/album: || mood/vibe: n o t h i n g . e v e n . c o m p a r e s
84Keiichi Suzuki & Hirokazu Tanaka

"Mother 2" what some of you may know as 'Earthbound' is easily my favorite RPG. Not due to how dense it's mechanics are, how strategic each boss battle may be, or how complicated the puzzles may get (because there's barely a hint of any of this in the actual game itself) but due to how much heart the game actually holds. This is the kind of release that wasn't afraid to cross boundaries, be emotional, throw a few questionable jokes at your face, and when it boils down to it - just downright relate. It has that home-y/hospitality kind of feel, like you could take a step outside your house - go save the world from all it's greed/hate then come back to your friends on the block and still play dodgeball like it never happened. And it showcases that awesome type of trust/bond that friends can achieve in where no matter what happens/where life leads paths - you'll still meet up and remember one another/be cool. It's the kind of game that people like me pray to find, and completing it for the first time a month back was a straight JOY entirely throughout. "I Believe In You", the track they play right before you reach your psychic friend Paula hits really hard with a ...fuk for what's going on in the game's setting at the time - it's only two phrases but I don't think I'll ever forget them. Don't want to spoil much, (in case any of you actually check it out) but man... this game's something super special. Tell me when you hear "Otherworldy Foe" you don't wanna start flowing uncontrollably and I just won't believe it. That's the kinda beat MCees dream of. Undeniably creative... and it always keeps music at it's core, recognizing it as a kind of magic that saves the world from any "Embodiments of Evil" that may be thrown at us, from the demonic Giygas all the way down to an Annoying Old Party Man. This game/soundtrack is my jam dawg, every song is a complete SMAAAAAAAAAAAAAAASHHHHHHHHHH!!!!! Ride Tessie on that lake and groove out. Sip on some tea and get psyched3D. Gain inspiration from Your Sanctuary locations and learn a new melody that'll be stuck in the back of your mind forever. Most importantly, sometime after reading this.... PLAY EARTHBOUND!!! || song: || mood/vibe: hope, determination, PSYCHIC POWERS, virtue, ---At the Milky Well, Ness thinks he hears his mother from far away... She says, "Be a thoughtful, Strong boy..."----
83Jacques Brel
Ces Gens-La

LMAOOOOO why is this dude slobbering/snorting on himself around 2:18 of Ces Gens-La? If it's that crucial, someone get this man a napkin. Laughed pretty hard first time I heard that. Definitely couldn't deny the power behind this man's voice though. 2:58 is serious business, I think he wants to get something done here? REVOLUCION. I'm not gonna look into it/do my research cause I'd rather not know so maybe one day I can laugh as hard as I did the first time I jammed this with others but yeah that's a good one. This whole thing is pretty solid, the music is real stiff though.. it rarely feels as though his voice and the instrumentals are working together (more inclined to think he wrote his vocals then just got some dudes to compose the actual sounds produced from the instruments afterwards) - which kinda can amount to SORT OF boring zZzzzZ music if you're not using it as like a relaxing/background kind of listen. That is, until you hit Les Desesperes..... ah! Les Desesperes.... ah..... Les Desesperes..... :" ) awwww omg wowwww WOWWW what a song. Alright, dudes you're seriously gonna get ...fuk'd so hard this is not even right that piano is dashing as ...fuk. Melt to those jazzy bass strums with the piano guiding the way/jacques voice saying beautiful who knows whats on the intro. 1:21 is when it gets kinda serious, that's when you start to know a hardcore ...fuk is coming, maybe you've already been ...fuk'd 2:09 ... fuuukkk, but just keep following that piano dude trust - wow now these strings are joining omfg the piano is SERIOUSLY in it's own world right now 2:27 to 2:42 is my fav. Wow. Les Desesperes. Les Desesperes. Les Desesperes... || song/album: || mood/vibes: dramatic shit that's actually cool, power, emotional, wow, Les Desesperes
82R. Kelly
Chocolate Factory

"Now usually I don't do this... but uhh, go ahead on and break em' off with a lil' previews of the remix... Now I'm not trying - - -" *piano hits in back of mix + bass line drops* ...FUUUUUUUUUUUKKKKKKKKKKKK. What even needs to be said about Ignition (Remix)? sKE$AAAAAAMESSSSSSSSSS' soundoff on the page sums it up perfectly. Ignition (Remix) --> repeat. Ignition (Remix) ---> repeat. It's just the absolute sickest feel-good jam prolly ever ever. Now I'm not trying to be rude, but anyone who's not down with these beats can just straight ...fuk off. I mean I'm REALLY not even trying to be rude... how can you DENY this shine??? You play this three-minute song and it feels like thirty seconds I swear. That bass line's so smooooooth ughhh, R. Kelly is probably the chillest dude to ever live!!! I'm gonna replay this song like at least eight times after writing out this ...fuk entry!!!!! THAT SLY ASS SYNTH DOING A LIL JAM IN THE CHORUS OMF>...FUKKKKKKK/..!!! I can't calm down, I get so damn hyped off this song every time. Toot toot! Beep beep! lmaooo wtf. Man, I don't even have shit to say just go straight to this link I'm about to drop and jam this godsend of a song everyday of your life nigga. If you haven't heard it yet, you might be STUCK on that replay button for like half an hour. And I'm gonna go ahead and take this time to make a shoutout to all those bombin' singles that used to come up on the radio when I was a kid that had the whole block moving. Still Fly, Mo' Money Mo' Problems, In Da Club, Through the Wire, Roses/Ms. Jackson, Hate It Or Love It, Int'l Players Anthem (best song ever made), Sugar (SpedupChipmunk Mix), Get Low, Throw Some D's, anything from Wayne that nigga popped off at all times, Roll Out/Get Back, etc.... I got nothin but love for the nigga Luda nahmean. I jus wanna make that shit very clear yo. Son is a genius n he a muthafuckin animal when he get in the studio namsayin. That nigga will bite the head off a dove when he in the booth son. He got a lot of heart n charisma namsayin. I love these niggas' music son. || song/album: || mood/vibe: LOOKIN FOR A BIT OF THAT SMOOTH SMOOTH R&B TO EASE MY SOUL AND CLEANSE MY EARS, rum/coke, chocolate, cocoa butter on yo ashy ass kinda jams
81Ensemble Pittoresque
For This Is Past

No one's prepared for this first listen. The kinda setting you imagine these guys in.. and the mindset they must have had at the time is like the absolute epitome of 80s cold- wave/synth pop. Couldn't stop laughing at first, and not cause I thought it was bad but because of how unfamiliar I was with the music. The kind of record that makes you think, "They're really doing this. They're really doing this... and it's being done exceptionally well." I mean we've all known it COULD exist, but this is IT. And it exists harder than you've ever imagined. As if they've been chillin in some dark cave playing disco jams rocking out on some Castlevania beats their whole lives. Speaking of beats, the percussionist on this instantly deserves a gold medal, every song grooves to no end. I can see people deeming this as cheesy but it's the complete opposite of that for me. These dudes blow it out of the park, to the point where you can't help but jump in and jam with them. May have known what wag was before wag even knew what wag was. Nearly every track could be a single, Ash Grey Sunday has a piano ballad near the end followed by a synth that just floods over into it all around 3:03 that catches me by surprise nearly every time. Reichsdorf Room's bass line after the clank/sawing of what seems like being trapped in a deserted factory is also something that's almost impossible not to recognize as a nice ...fuk. The one-two hit of the first two songs pull you into the album pretty much immediately due to how catchy they pan out ot be. And the vocals are rad, "Guitar licks! Guitar licks!" ...fuk. O.B.W.T has that late night foggy car-ride vibe to it, that trails into one of the absolute sickest guitar lines ever put to tape that you never want to stop. Every track rules here, seriously. As a whole, there's a sense of minimalist songwriting here but I think that's what they were aiming for to keep that whole "fun 80s album to put on whenever for anyone willing to check it out" vibe. You gotta be down to groove out to this release, or it's not going to spark up much for you. LOL i knew when that whole transition white noise/radio signaling came in at 1:10 on Better Life's track I KNEW i was in for some shit. It's goofy, but the life and energy it brings to the normally sullen or remotely depressing genre is what drives it's charm. For This Is Past is all out jammin on it's own planet and I respect it for that tenfold, majorly cool. Havey (the People's Champ) rec'd me this about a year ago, and judging that i can tell this dude knows how to get down. Has been THE staple car-ride album.. AURATORIUM within such closed space is (: 4:13 ...fuk || song/album: || mood/vibe: dark, groovy, cold, mad genius SYNTH MASTERS, industrial, wag, wag wag wag
80Paul Wall
The People's Champ

Paul Wall's The People's Champ was the soundtrack to the summer of the 11th year in my life. Grinding on Runescape (until i had enough for a green party-hat) every second of the night with best friends, and skateboarding/swimming all day in the afternoon. Radio on at any given opportunity, and 97.9 THE BOX was on lock. I swear Sittin Sidewayz came on like every other commercial break. And we loved it. You gotta understand, in Houston around 2005 hip-hop was everything. You couldn't get in the car without hearing MIIIIIKE JONESSSSS, something about grills, and a relentless amount of flaunting. We loved it. There was such a great sense of pride and unity through the music, it pulled EVERYONE of any ethnicitiy together due to just how FUN it was. And the artists behind the music KNEW this and worked to bring what they were releasing to the fullest potential. You'd hear interviews of Paul Wall or Mikes Jones on the radio (when does this EVER happen now?) about their mindset behind the work they put out and what they were doing on that day, they wanted you to get to know them. Hell, Mike Jones even gave out his "personal" phone number to the public at the time (281-330-8004 ring a bell?) for anyone to call if they wanted to hit him up. You had grills being thrown in the market and nearly everyone that was already big in mainstream hip-hop was hitting up Houston to rap on their tracks. It was impossible for them to go unnoticed, and it had a real cool "do it yourself" in becoming an entertainer/musician kind of vibe. To kids, this was easily one of the most talked about/infectious ideas EVER. We loved it do death. I'll never forget laughing for like twenty minutes straight at a friend of mine spamming the number for an hour before finally getting to him and accidentally hanging up. The People's Champ doesn't really have a moment of "...fuk" or anything cause the musicianship probably wouldn't be too great to an avid listener stumbling upon it by accident, but the memories sure stir a shit load up. It was the first album I ever owned, my dad gave me a signed copy with a bonus chopped/screwed version (on top of the original) and it completely blew my mind cause of how they actually changed tempos/put basic experimentation into songs I already memorized. It HOOKED me into music, the creativity of being able to do virtually anything with one groove or one beat. I would study the original version and then jump to the chop/screwed tape and study the difference until I knew why or how I enjoyed a song. After that... the rest was history. Found out about LimeWire and started jamming absolutely everything I could find in rap and expanded to other genres from there. Houston in 2005 was one of those things you really had to be there for. The genre of rap was so relatable and fun... with such a great sense of humor. I honestly don't think the scene will ever be replicated like this again and I'm so proud and thankful that Houston's rap scene was what sparked the greatest passion/fun in my life (music) ...fuk || song/album: (this isn't on The People's Champ, but it defines Houston in 2005 perfectly) || mood/vibe: just watch the vid to "Internet Going Nutz" and you'll know -
79Kengo Iuchi

This one's for '89 but I had to put this instead cause none of my This guy has either 1) Done something really ...fuk'd at some point in his life or 2) Is about to do something really ...fuk'd soon. RUN!! Umm, dark room, no one home, thundering night is probably the best setting for a first listen - or walking through a forest or something hehe or is that gay. The first track alone should give you enough of an idea for what you're about to head into. Actually can be pretty funny if you have the right mindset. Drugs??? lol nah jk dont do that jk again yes do it DO IT. jk again again cause i don't do drugs!! (actively/yet, hehe) It's the kind of record that you might have to stop due to things becoming a little too disturbing instead of the music actually being intolerable. Lots of moments full of grace here though, this guy's a demon LOL, brings screams from left field like they're his middle name. AGGGGGGGGGGGGGHHHHHHHHHHHHHHHHHHHHHHHHHH!!!!!!!!!! The way the songs trashed near the end of the fourth track is cooool, really there's so many moments here -- this entire thing's a ...fuk. im just not ...fuk'd enough to put it all to words. oh well, here we go - 8:45 mark of the 13 min song is where you kinda just lie down and take it all in, trying to figure out how an individual creates something like this - and why this dark shit can at times be so gorgeously alluring. YUmMY. claps are pretty awesome lol. the ninth track is my fave, nothing but GRIEF and desolation - connects immediately. I think he might get a lil happy from his mommy sneaking a kiss or something near the first minute of the 10th track but other than that yeah it's all downhill fast so don't get your hopes up, bitch. This is all over the place, really... so WICKED AWESOME. Great stuff, record's the real deal my nigga - grade A killa no filla. Proceed with caution: niggas of destruction type shit ... speaking of which... || song/album: || mood/vibe: think of the children, despair and shit, loldienigga, EVIL, no PLZ, some shaddy ways got me to this artist fucking intense album '89 is indeed mad as fuck album experimental as fuck ......., GiaNXGX's final form (miss u), fuck this part i think i've said enough i just hope gian's well

The ULTIMATE background / chill-out jam disco groove release. Like idk why i mean i WANT to move to this release but i'd much rather just lay down and let it jump around my room for me?? there's so much deeeep stuff going on here, the tracks are so solid at their root - like pretty much everything that gets laid down on top of it is bonus jam material. it's all so complex but strangely minimal - stuff's running into each other from every which angle, samples of voices might make an entrance ... who knows when? tons of awesome ideas being presented here, very fresh and open - thinking material music for endless nights of whatever you're down to do. that album art is gorgeous too, like the first thing that comes to mind when i think of this is how similar the sound looks to it. you really can ...fuk yourself however you want with this, pay close attention to a new set of rhythmic clicks or a cool few notes coming from synths - it all locks together so well and anything fits properly in place when presented or you could just sit back and jam out to a main melody with soulful vocals thrown in the mix here and there. i've grown to appreciate vladislav delay and all his side projects so much recently, like this album just keeps giving back.. i don't think i'll ever grow bored of him. check out that slickkkk switch-up around 5:48 of market to introduce one of the main choruses of the song ...fuk or how you hear slight breaths of the woman in that chorus earlier in the song before getting to "there's nothing in the world that you can do for me" (i prented to hear it as "there's nothing in the world that you can't do") repeated a million times over, never losing it's charm - vladislav has such a cool vibe going for him the way he gives certain elements of his music proper attention, it feels like no beat or rhyhtm is ever forgotten and can be revisted whenever the time's just right for them to be showcased. it's all so expansive i guess, he feels in control of so much minute detail it's really incredible. and then when a switch does come or the song progresses to a new portion, it hits in a massive way. take for instance that rough kinda mechanical melody going on at 5:54 of "Class", it comes in kinda out of nowhere but it just carries the song in a completely new direction to refresh the whole life of the song - 7:24 those cuts are a great subtle ...fuk the way you hear a echo-ing kinda fading shy female voice jump in and out of the melody that's formed - how it stumbles at 8:50 for but a brief moment and how THAT foreshadows an introduction for another new direction for the song. but it's so cool cause we're still jamming to that initial beat that we met in the beginning, it's just been refined throughout all of this to fit properly in with whatever it encounters. all the tracks are just absolutely essential here in luomo, the release has been amazing me a lot lately i love how each song has a nod to a previous or to the next, that synth in the back of synkro omg ...fuk like whaaaat wow - i think Tessio's intro is like one of the "staple" vocalcity moments or highlights what vladislav delay is so great at. Like - HOLD UP, lemme just reiterate that Tessio's introduction is DISGUSTINGLY good - like wTF???? on another level good. THAT kind of vibe??? stop/go like watching cars pass by a 2 second interval traffic-light ? Distant memory feels fuxin wit you so heavy it's unreaaaaal. the space of silence in between the vocals being emitted, like one verse to the next - he does this a lot - stumbles intentionally and lets you kinda predict what's about to happen/then puts some strange delay/spliced effects reminescent of what might have just happened man.. i can't properly explain it but it happens in anima frequently as well and how that whirring of air just sits and exists in the back while you hear small blurbs of notes and vocalized samples between all of it in Tessio's as well. 5:25 ...fuk man, everything sounds so distant - i love how all of vladislav's stuff kinda sounds like some etheral/former life.. samples are always so astray but always neighboring your ears 5:48 is when it just all gains movement again and you're just on a smooth ride til' the end ...fuk 9:02 ... yesssssss yesssssss then those new male vocals?? This release kinda reminds me of the original Super Monkey Ball's music for the Gamecube LOL that game was good though im serious. Or elements they used off of this song called Shotgun Kiss in F-Zero's soundtrack off that same system. I love late night vocalcity not much compares to the MOOD of late night vocalcity I LOVE LATE NIGHT VOCALCITY. Just chill out like you would at a glowing/lighted heated lazy river beneath a night sky - take a dive into this cyber current of sounds and vibe out to it's flow. Lmao wtf did i just say, $wag. || song/album: (keep in mind, 240p quality plz download/purchase 4 better jamming) || mood/vibe: Any moment in tessio where that air/future kinda whisp puts in breath is flawless. Texture. I love this. That light- psychedelic but still in the right concentrated frame of mind vibe. That sit and stare off into nothing due to the sounds being presented/awe- but still being able to bop/nod your head to some bomb ass jams feel. That put on your black hoodie with headphones in while cruising through a luminated city street while it's raining at dusk "im cool" type of shit. 2 n1c3 - pl4y 1t 2w1c3
77Johnny Dyani
Witchdoctor's Son

It's been three months since I first heard Magwaza. Since my life began.... Since I uttered my first AHHHHHHYyiyiyiyiyyiyi. I have come to the realization in this brief period of time that Magwaza is indeed life. I assure myself that I realized this immediately after allowing these bursts of pure, ufetterered truths enter the labryinthe canals of my ears which with time have only grown in delight. My soul has become sensitized, Havey's prophetic vision has been fulfilled. You see, you can't just "listen" to Magwaza. It MUST be played LOUD. You can't just "get to Magwaza later". It MUST be played NOW. Go ahead, start it up. Don't matter if you're "down" (aww pobrecito) don't matter if you're a pasty white ass nigga either you can do this TRUST me. WEAR MAGWAZA ON YOUR SLEEVES. Run down the street shrieking AHHHHHHYyiiyiyiyiyyiyiyiyyis, let your younger brother embrace the Magwaza (I did). Assault your parents with Magwaza when they're flipping shit and they'll pull out a kit and start jamming too (guarantee), blast Magwaza in the club, bomb your school with Magwaza. Magwaza. MAGWAZA. MAGWAZA. Thirteen minutes will feel like four. A smile from the bass grooves first entrance will be implored. And when those fills start to swell, sax jumps through hoops, drums FLOOD it DOWN, and the SAX SQUALLS LIFE at 9:54, you will surely fall to the floor. But the ...fuks not over yet, indeed there is more! 10:42 and on we've got the DRUMMER completely just fuking BECOMING MAGWAZA now and THE BELLS?? THIS IS TOO MUCH I CAN'T RHYME ANYMORE.. THE PIERCING WHISTLE AGAIN???? OMG YES!! Now it's YOUR time! JOIN IN FOR THE END AND LET OUT YOUR VERY OWN, AHHHHHHYiyiyiyiyiyyiiyiyi!!!!! ...FUUUUKK!! AHHHHHHYiyiyiyiyiyyiiyiyi!!!! ......FUKKKKK!!!!!!!!!!! || song/album: || mood/vibe: life, E N E R G Y, sun, that viridescent feel like water curses but not exactly water curses, SAX PLAYER IS !!!!!, nature, instant pick-up, GREEEEEEN, GREEEEEEEEEN, light of their generation... a priceless gift to all Africa and the world keepers of a people's CULCHA, MAGWAZAAAAAAA
76Iron Maiden
Seventh Son of a Seventh Son

Before Radiohead, The Police, John Coltrane, Animal Collective, Arthur Russell, Vladislav Delay.. all the jams. BEFORE EVEN SPUTNIKMUSIC. There was..... IRON MAIDEN. My friend's sitting here right now fucking with me, playing any random song from their discog on youtube and seeing if I can sing along to a melody. Air guitaring the entire time lmao. I can't stop laughing. I don't go to metal much these days, and it's not because I think it's "bad" or anything... just doesn't fit my personality/mood at all and rarely has. But back in elementary/junior high? IRON MAIDEN. I have NO idea why either lmao, my parents raised me under a pretty strong christian roof - church every sunday, etc. I don't even know how I found out about them... but all i wanted to do was listen to IRON MAIDEN. IRON MAIDEN IRON MAIDEN IRON MAIDEN. Lmao I think I was possessed, nice. Just sitting there and FOLLOWING notes, like understanding why one came after the next - it was TOO much fun for me. Riffs were so charged lmao everything felt like it was shocked and about to take off... I don't know Iron Maiden was just so over the top insane LOL I loved how crazy they would get with the vocals so serious and intense for no reason other than pure hype. Kinda like how some kids at my school dug WWE and all that testosterone induced jazz picking up a chair and BUSTIN a nigga across the head with it just for a good laugh. I didn't like that kinda violence though cause I was a little girl so I put in my headphones and PLAYED WITH MADNESS. Oh mannn LMAOOOO when that track starts ...fukkkkkkkk THIS IS SO AWESOME IM LISTENING TO IT RIGHT NOW HE JUST PUT IT ON. Wow, what a chorus check out that guitar melody asidofasiojdfoiadfsj I love Iron Maiden, dudes. I always will. "YOU WANNA KNOW THE TRUTH SONNN??? OHHHHH I'LL TELL YOU THE TRUTH" .......fukkkk "OOOHHHHHHHH listen to MEEEEE" uhh oh we're jumpting into a serious ...fuk section.. YEPPP there it IS those solos i would follow lmao holy shit i need to go to an Iron Maiden concert before they call it quits, I owe them my LIFE. Every track here kills, im not huge on Infinite Dreams but it's still a hit. I remember this album having all sorts of crazy concepts/ideas and back then I thought it so cool investing time into trying to figure them out lol, I think that's why this one (as well as the music) was my favorite along with Powerslave. Seventh Son of a Seventh Son was one of the first songs I discovered that was over five minutes, I didn't know songs like that could exist and wanted to find more before it was so different. I'll never forget hearing FEAAARRR OF THE DARKKKKK too... "I am the man who walks alone...." Hearing the crowd on my live version of the song sing along to the "A whoaaaa ohhhhhh oh oh oh oh OHHHHH" and echoing "Fear of the dark... FEAR OF THE DARK". Then -THE- RIFF. Yeah, it still ...fuks hard. SO MUCH FUN - lmao check this live vid out: __ "ARGENTINA?????" --- "MUAhahahahHAHAhahhaA" lmao i laughed when he ran across the stage at 3:06. Iron Maiden HAD to be in ...fuk 2, it was one of the first to get me into ...fuks I'm getting INSANE hype/inspiration sitting here listening to them.. it's been so long. Kinda corny but forever a favorite band, wayyy too much of a presence to ever deny. Lmao Eddie is such a cool idea for a band !!!!!!! UP THE IRONS !!!!!!!! || song/album: || mood/vibe: "Seven deadly sins. Seven ways to win. Seven holy paths to hell and your trip begins. Seven downward slopes. Seven bloodied hopes. Seven are your burning fires. Seven your desires."
75Boards of Canada

Ready Let's Go all the way to Gyroscope, such a strong suite of songs. For some reason or another Ready Let's Go has always been my favorite BoC track. Reminds me of sitting in a hot car on a summer day as a kid and just kinda jumping in/out of consciousness from sleepiness, traces of synths that kinda luminate behind the whirring - and then waking completely up when Music If Math begins. Sunbathing or a mirage. It's suchhhh a direct and simple track but it complements the album so well and fits the kinda mood I feel like they were going for perfectly. You can't have Ready Let's Go without Music Is Math.. it just doesn't feel right. And that album art paints the sound soooo well too. The kind of rare time where sounds relate to a memory - an arid/dry type of daze while somehow remaining comfortable. Also, I'm sorry to say this but Boards of Canada has grown off me A LOT lately. Like to the point wher I can't even listen to Music Has the Right To Children anymore without wanting to jump out a window. I was even considering taking this ...fuk off but I love bits and pieces of Geogaddi and the purpose it served in my life. I don't feel like going into detail since ...fuk is positive so I'll keep it at this - the brothers had a real upper hand with texture, especially considering any of their tracks under two minutes as far as i'm concerned and it's showcased in the beginning of Geogaddi exceptionally well ...fuk. || song/album: || mood/emotions: sun-bathing, pensive?, heat, subtlety
74The Zombies
Odessey and Oracle

Oh.. man. Just ...fuk. Care of Cell 44 starts and I have to start bouncing. WOW what a song... what an album. What were these dudes up to?? WHERE DID MUSIC THIS GIDDY COME FROM? oooooOOOOOooooo "FEELS SOO GOOOD YOU'RE COMING HOOOOOOOME SOOON" bum.bum.bum.bum. "awwww AWWW AWWW AWWW" ...fuk!! I LOVE IT. Alright, so back when I was in Junior High I started to notice a trend - that trend being PINK FLOYD, THE BEATLES and LED ZEPPELIN on nearly EVERY T-SHIRT I just so happened to glance by. ___THE DARK SIDE OF THE MOON GREATEST ALBUM ALL TIME___ plastered across tees, so of course I'm insanely interested in picking apart these bands and seeing what they do for me at that age... Dark Side has maybe hit me emotionally for 3 or so seconds, can't even remember what part - was so pissed i couldn't get it, sat in my room listening to it countless amount of times just trying to connect - nothing ever happened. Still hasn't. Don't get me wrong, Floyd's cool, I like Wish You Were Here and Animals is cool too but..... ?? ? ? ? Zeppelin provided some serious addiction throughout a good three months of 7th grade - The Beatles were good but I wasn't obsessed or anything, I just appreciated a few handful of singles/never could finish a complete album (except revolver, i love that one). Wow, sorry about that - just wanted to express that thought here because it was something i sort of struggled with as a child, not "enjoying" canon artists of the 60s. This all leads up to the Zombies because I have an IMMENSE question to ask the public - - WHERE ARE THE INFLUX OF THEIR SHIRTS????? WHERE ARE THEY!?!??!!??!?!? ummm they RULE harder?!?!? They REALLY do im not even f'ing kidding they ...fuking rule SO hard and im ... UGHHHHHH!!!! This is the BAND i should have found in JUNIOR HIGH.. thankfully sputnikmusic had my back and hooked me up later on but man oh man i would have loved to listen to this/spread it around for others to enjoy. Why are they so relatively unknown to the public? I don't understand.. Anyways, ...fuking just wow every TRACK im telling you it gets down. Probably my favorite pop album ever and im not even joking everyone else needs to call it a day with the "best" (lol i hate that anyways) title because it was cemented fifty years ago, bros!!! Where you gonna find a groove like the one on Time of the Season on a Beatles' track, son??? HAHAHAHAHAHA this KILLS it omfg "it's the TIIIIME OF THE SEAAASON FOR LOVINGGGG" ...fuuuukkkkkk "what's your name? who's your daddy?" LMAO omfg for real?? this is too cool this is wayyyy too GOOD every break into the chorus - never gets old, "MMMchhh aHHH" samples in the back and that SNAP ohhhh OHHHHH omFGggg ORGAN SOLO!?!?!?!?? 1:39 ...FUKKKKK i seriously think they could do anything they wanted they were on it, it was achieved here my niggas alright but FOR REAL though any track.. pick one and you are on an odyssey. Take for instance Butcher's Tale which is prob my track here just cause of how straight chilling the vibes are that come from it throughout a bliss trip of an oddyssey - i mean F the war dawg i wanna be all about peace especially in the 60s hehe but The Zombies knew how to not even get pissed about it and present an anti-war tune for the AGES as well. YIKES you click it and wtf where did we go?!? i was just so happy :c ok a melody is coming in with like bagpipes/accordion or something lol idk i think this song is just umm good but not crazy or anything until that :43 section where accordion sweeps a bit more ok.. :54 what is happening this is getting intense is that a ufo taking off @ :58 and "IIIII CANT STOP SHAAAAKING" oh.. my ...fuking god... ....FUKKKKKKKKK and how EASILY it calms itself after that at 1:15?!?! are you FUCKING (woops) ...FUKING kidding me? "hooOOOooOOOOOOoOOME" niiiiiice i can even hear the clicks of that accordion that is AWESOME oh my god chills CHILLS this track freezes you dead in your tracks this album is the REAL DEAL like instant pick-up play it w/ your girl play it w/ your dog idc who all that matters is that you spread this album like none other - let's get The Zombies on some tee-shirts you feel me || song/album: || mood/vibe: chorus/back-up vocal GODS, happiest shit you will find in your life, get off the shit trains and jump on The Zombies train, if you don't like this i will get actually pissed, sunshine jams, KIM AND MAGGIE JUNE AND DAFFY JEEN AND JIM AND JIM AND CHRISTY - ahhhh, man LOL look at that red dude with his bare ass showing in the bottom right corner cool hair my dude im digging it
I Might Be Wrong: Live Recordings

I don't even remember the last time I jammed out to a Radiohead album. Like, actively went to my iPod and clicked one of their releases to listen. I just jammed them SOOO much for like three years that it's hard for me to go into their work with a new perspective each time, and not cause i don't like them anymore or anything but just due to the fact that I would much rather hear something different or new coming from another artist/examine what they're doing. I WILL ALWAYS LOVE Radiohead I WILL ALWAYS HAND OUT BURNED COPIES OF OK COMPUTER IN FRONT OF MY NEAREST CHURCH - but they've become more of a band that I would much rather enjoy hearing in a social setting rather than alone these days. Astounding musicians that can pull nearly anyone in and allow them to genuinely enjoy what's presented, which is always awww. Music to me can never be exhausted, (it'll renew appeal it's initial appeal/reveal various with time) but True Love Waits has never even had that kinda "needs some time to refresh" problem - it's always managed to hit me real emotionally every single time, regardless of how often I visit it. Maybe due to it just being Yorke playing a stripped down acoustic jam with a friendzone message for the ages????? maybe it's the lack of all the effects + rest of the band??? or maybe it's just an insanely well written and heart-felt song??? regardless, this one's really got that soul that gets bitches saying wowwwwww.. sit back and jam those chords around 2:38 and the twangs around 3:05? ...fuk|| song/album: || mood/vibe: plz watch
72Joe Hisaishi
Princess Mononoke

"You humans are pitiful creatures. You will suffer the hatred that I have suffered..." - Freud Lindell 3 months ago. "Calm your fury, oh mighty Lord! Whatever you may be, God or Demon! Leave our village in peace!" - Tess1061 4 months ago."When I listened to this I had to resist checking there wasn't a demon god behind me." - NotXerothermic4 months ago. "DEMON GOD GOES HARD" - Christan McAdoo 1 second ago. Man, playa you ain't ever fucked with no DEMON GOD of a song before - this I assure you. You better stand up when listening to this one and be prepared to run. THE PACE OF THIS SONG IS A ...FUK. Peril, escape, SOMETHING REALLY EVIL'S COMING - dude omfg when i first heard the intro from the version on the actual soundtrack (it's so much better, the one i'm referring to here) --- that downward BNNNNNNNNGGGGGGGGGGGG then a sudden THUMP on these tribal ass drums - highhhh yelling from stringed notes..... uh ohhhhhh... we've gone and done it THIS time... UHHHH OHHHHHHHHHHHHH - THUMP - instant pick up/tempo switch ---> buh buh buh buh buh bah bah BUH BUH BUH BUH BAH BAH - you feel this $HIT? this RUSH? omg g00sebumps..... nigga, NO!@!!!!!@!!!, it's called a ...FUK!!!!!!!!!!!!!!! Man, this sound track is SOOOO goood. Like, I'm not sure if it's his best but ... it's top of the line soundtrack material. Joe Hisaishi thx man thx for all these movies u rock dude. I don't even know if Princess Mononoke is my fav from yours, cause you've got so many good ones - that's how I know u rock dude ugh Spirited Away's Music is so good, one summer's day - the dragon boy - sixth station!!! wow || song/album: (3:51 but SERIOUSLY the album version is so much better) || mood/vibe: DEMON GOD
71Vladislav Delay

My relationship with Multila is as follows, "Oh, hey! This album looks cool." ... "Awww... I can't find it on mediafire.." (lol was a noob - didn't use soulseek then) "Hmm, I guess I'll buy it on Amazon". *listens to it that night* ............................... *makes no sense* *random bloops/bleeps/clicks hello???? is this deviant speaking* ...... *thinks*..... "wow, im not sure if that was a waste of money but .... umm are you sure here mindle/havey @__@ /??? ? ?" *leaves it alone for three months* ...................... *gets mad sm0k'd (jk i hate weed actually cuz it suxx but i love getting ---> ~~psyched3D~~) *which is what happened that listen while mad sm0k'd*....................... *wants to lick rant/raamat* omg wow this is some seriously SM0000000000000K'D shit *click click doop da doop da doop* OH MY GOD YESSSSSSSS OH MY GODDDDDDDDD *decides to lick rant/raamat* ....... *can start to speak deviant's language on the bloop/bleep/clicks on huone* ..... *mind speaks back telephatically* .......... "....fuuuuukkkkkkkk (2 deviant)" ........ *deviant replies back* "...fuk was the worst list i've ever read.. and we have MINDLE to thank for this" ...... *ignores deviant lol, thinks to self this might actually be the next level i have finally become worthy of deviant's language* ....... *jams out like a bro-bot --> actually is brostep now* .......... *> __ >* ...........* turns back into ethos aka ethixx aka ethics aka ethy cuz is tired of writing reviews for the frozen: soundtrack and wants to write ....fuk 2 instead* .......... *is here at the present time writing this list right now* ...... *karrha comes on* ..... *this is where i stop typing cause im getting way too psyched3D to karrha* ......... *ok karrha is at that one part where the humming/ear-massaging bass comes in you know* ....... *now that thump creeps in behind it* .......... "...fuk" ...... *pietola starts* .....*connects to gian's spirit telepathically since im on that level now and he still describes it as a disintegrated white ballsack's juices suspended on Eta Carinae's Nebula, not a transmission though - a deep tunnel of rich signals* .... *nesso just drags you out of the tunnel with the slow-burning glitch with some ...fuking awesome things wow ????? wowowowowowow im psyched3D right now i can't describe it right, give me a break okay???* ..... *album ends* ....*reads mindle's review* "oh my god" .... *starts back up multila* ...fuk || song/album: you really should just start with the first song on the album but here - || mood/vibe: READ MINDLE'S REVIEW IT RULES
70Main Attrakionz
808s and Dark Grapes II

As you can probably tell by now, (if you've even had the stamina to make it this far) - I don't take many things too seriously and 808s II is probably the most relatable hip-hop album to me because of that. These dudes have so much innate talent for beats it's unbelievable. They're not afraid to throw their honest story out to the world, shoot higher with their ambitions, and have fun. A few songs can be deemed as a flop, but it comes with the package cause there's tons of ideas thrown together here, most of which exceed extraordinarily. Part of the reason why I have such a soft spot for this release is due to the fact that it takes risk in a genre that DESPERATELY calls for it. Vegetables is retarded and goofy, but it keeps things fresh/light-hearted. Chuch samples a sick spin on a Nujabes' beat to wind things down a bit after the pace of the previous tracks. Nothing ever sounds like a duplicate, and the experience to each track is always entertaining. I can't help but laugh near the end of Chosen when they jump in and yell, "You the chosen one my nigga, smoke another blunt to that my nigga" off of hyping the hell out of each other to no end. And the sax/chimes that elicit those smooth north old-school vibes on the second half of Mondre Mo Murda is a ...fuk that you'd have to be dead to not recognize. For me, 808s is all about good fun, and it comes off as a genuine release that they poured a lot of work into. "You probably wouldn?t catch them saying it, but 808s didn?t happen by accident. It couldn?t have." For once.. no one is getting killed here, there's no HUGE obstacle or struggle. It's just a few young minds being inventive as possible. Having fun through doing what they want, high spirits throughout. Don't underestimate these guys, they've got it. You can't hate, nigga. (Friendzone SUCKS btw) -- - - - CHUCH || song/album: || mood/emotions: youth, urgency, trust, self-aware, promise
69Derek Bailey

Wow!!! Even iscarabaid (Claudio, one of my fav dudes ever) partakes in a good ol ...fuk from time to time! Check this out!! WOWWWWWW!!!! This is like the best most ELEGANT ...fuk write-up of all time ever!!! i think this nigga's really on that next level shit no lie!!! i mean i been thought this shit but he puts it to words???? god, i wish i didn't have such a nigga vocabulary bank sometimes - MANNNN does this ONE hit hard though dude ok im done being dumb, here we go... WARNING: PREPARE TO TRANSCEND FROM TEXT ALONE - and from -this- ...fuk on i'll fuck up anyone who mimics/screws with around on 4chan...... freaks (Claudio starts here): I will not resort to namedropping technicalities or writing off detractors as "close-minded". But I will attempt to describe a bit how I perceive this music, why I like it, and what comes to mind of its style. I do not see Aida (or any atonal music for that matter) as an intellectual exercise. Music can impress and captivate the listener with its dynamics, tone colors, textures, pace (or unpredictable nonlinearity of), rhythms (or buoyant omission or distortion of), and melodies (or dreamlike illogicality of); (in parentheses are only few mere possibilities) you surely know this by now. There is no rule that requires music to impress and captivate with all of this at once. Most recently Aida has brought to my mind a glorious comparison of it to the universe in its multidimensional (almost contradictory) variety of emotion and unstable yet always eventually balancing language of fate. There is passion at work in the notes of these improvisations, and yet the clear source and motive of it is all so subtle and vague. I have noticed that great works tend to have more ambiguity of emotion as opposed to one simple emotion of "happiness" or "sadness" or "anger". They can have all three of those at once and more; they are quite like autism in that it is not easy to describe and pinpoint the experiences to one or two simple emotions. Aida is daringly obtuse in this sense. Is Mr. Bailey upset? He's about to break the strings. Is he in love? He's caressing the strings and bringing every dimension of them to life. Is he in a scientific mood? He's experimenting with every timbre of the strings; he's curious as to what pulls at my heartstrings. It's almost like free association. That's not to say it is in fact void of passion; it is clearly passionately hellbent on probing the unconscious mind of the listener. There is so much to discover and adore in all this. I still have not mentioned why I have compared Aida to fate. It feels as if there are as much harsh moments as there are gentle ones. All the different timbres and ways to play a guitar showcased here are put to use evenly; there is no single beauty at focus. Fate, too, delivers surprises in fair and unfair ways, ostensibly entirely illogical. With infinite time it would all balance out; it is no coincidence then how the verticality of the music resembles infinity. There aren't beginnings or ends or climaxes. There is also that atonal factor that makes it all feel even more like something more natural, because nature is not overly romanticized in reality. It is like talking or groaning as opposed to singing which is something contrived. Many animal calls even are not beautiful through melodic phrases but in other strange ways. Oh, but there are certain phrases in Aida that are overtly tonal, as if to recite a melody, but then they are quickly buried. The mystery itself of it haunts me more. One last comparison I want to make here is (forgive me for how hackneyed and adolescent it might be) to an acid trip. We are not talking about ecstasy here. There is no simple aim for bliss; the beauty is found in the indescribable multidimensionality. I want to stress most of all that it is an appreciation of the present, not the past or future. There is no anticipation for a climax or recurring motif, and the intricacy of the music is certainly not to be remembered note for note like a pop song. All the ideas of enlightenment are forgotten, as are the moments of fear. I would not say psychedelics are "intellectual exercises" because much of the thoughts they invoke are indeed illogical; it is all a flow of maddening intuition, like Aida, to savor and appreciate and grow from."Paris" is the standout masterpiece recording here. It contains the most of the special little moments of magic, and for a fun challenge I will attempt to unearth a few of the elusive "timestamps" of these brief moments. At around 2:37 to 2:46 the strings are suddenly plucked in such a way that it conjures an alarming blossom from the contrast of the earlier anxious staccato. The notes are let loose to linger. It is graceful and tense, resonant and momentary, and then Bailey awkwardly tries to pick it all back up as if he has revealed too many intimate details. This is the sense of life here: the music is alive; a bolt of lightning has struck; a dog has jolted awake from its sleep. From 4:27 to 4:54 might be my favorite moment in "Paris". The meandering "melodies" here are immensely lyrical. Listen as Bailey makes a wonderful teeter at 4:29, meekly wanders around in placid plucks until he finds a soft and graceful ode at 4:38, then makes a descent and upon reaching the bottom of the scale at 4:48, strums a fretful furor of dissonance. Or is it a cry of anxiety, or something a bit more rapturous? It is also poignant how the music continues without pause with its journey as if nothing occurred. Listen how at 5:12 Bailey realizes he can do what he wants and is at last more comfortable with displaying his passionate frenzy. 5:25! Wake up! 5:55: dance, or tear apart, or reveal the truth. From 8:16 to 8:25 we have a catchy (!) anthem that is weaved modestly into the work and never again repeated exactly but I continue to hear later on what might be allusions to it. The little rhythm at 8:35 is so obviously playful. Or perhaps it is the reminiscence of a courteous routine. Finally at 9:31 a chord brings us to a consonant resolution. No, not finally. I told you nothing ends here. I can go on and actually the bits I have described were not the only little bits I found engaging in even the first ten minutes of the album. It is not even about "bits": the entire flow and organization of the album (how does he do it?) is the great forest worth celebrating and there is quite consistently magic to be savored everywhere in it. Of course there are thornbushes abound, but Aida is far from a one-dimensional descent of painful terror. Be grateful that these performances were recorded; maybe, as with me, it will not take you one listen to fully appreciate them. ---- nice nice nice nice 100% all the way *standing ovation*___*sends 24 consecutive facebook stickers* you didn't hold back, claudio!! you really FELT the music. you did it, man. nice. || song/album: || mood/vibe: https://scontent-b- 9/1004724_527816123951429_1898047816_n.jpg
68Koji Kondo
The Legend of Zelda: Majora's Mask OST

I never played Zelda games at a young age. My Dad went out and rented Ocarina of Time for me when I had just turned five from the nearest Blockbuster, but when I got to Hyrule Castle (skipped time) and proceeded back to the village to meet the Re- Deads as a first encounter I nearly shit my pants/turned off my N64 console instantly. Skip ahead seven years and I tried Windwaker (the cell-shaded art design/vivid colors appealed to me and got my mind off the Re-Deads upon picking it up), and it blew my mind completely. I played every Zelda that I could get my hands on after that, but Windwaker always remained my favorite. Until Majora's Mask. For some reason I always knew I had to play it and when I did it would be perfect, so I winded up holding off on it for the proper time. When I (attempted) at moving out of my parent's house during a summer to go live with friends, one of my best friends begged me to play it (due to it being his favorite when he was like 3 or 4). I hadn't invested myself into a video game within like the past two years of my life cause they lost a lot of originality/difficulty/charm for me, but I just knew I had to. Nothing had hit me like this before. I didn't look for a job to start getting my life together, I didn't do anything really. I just sat in front of a small tube tv every night as soon as the sun went down and played Majora's Mask with a blanket over my head for around a month - deeply interacting with every NPC available - attempting to acquire every obtainable object/secret in the game. It was so heavy, everything about it captivated me. How you were destined for an iminent apoclaypse from the start, how at the time the game was created - society was in fear of Y2K, how the mood always managed to remain sullen/dense, how the characters remained in a constant loop due to the game's time mechanics - forcing you to peer into their lives of monotony with the option directly affecting them or not. It had such a close relationship with emotions I never chose to familiarize myself with, (fear/death/anxiety/paranoia) and it was all sitting right in front of me disgused as a children's game waiting to affirm. In a way, the game kind of possessed me - I couldn't have chosen a better time to escape into it's world, everything about my life at the time felt so twined with what the game represented. I wanted to become better acquainted with that kind of comforted sense solitude can bring - I was so curious with darkness, or a foreboding sense of evil because I knew that there was goodness through a purpose somewhere in it - and that type of knowledge (for me) at that specific moment had to be gained. And the final few scenes with that last sentence uttered? It nearly brought me to tears. Never put it down until I hit the credits and I'll surely never regret taking the time to. Allowed me to view videogames as more of an art- form rather than just entertainment and restored my faith in still being able to genuinely enjoy them regardless of age. There's just this addicting aura to the game and the soundtrack stretches it's type of hypnotic magic to the fullest. It has that sense where you always feel as though there's something glooming above you (LOL there actually is). I could definitely see that rascal Ghost Boy chilling in this game with his own motives in fucking shit up (but I don't think Ghost Boy's evil, just misunderstood). Difficult to properly put to words, all you can really do is play it. The vision was certaintly brought to life here, completely unforgettable. A masterpiece. Oh, and Astral Observatory. || song/album: || mood/vibe: Dawn of the Second Day -48 HOURS REMAIN-
67Built To Spill
There's Nothing Wrong with Love

There's nothing wrong with love just has so many awesome ideas within it. It's full of energy and charged. It's real young and innovative. I love starting it, how quick the first tracks pass by, especially how they trail into the following ones "when i get this feeling like i'm gonna start, i just have to STOP" ---- "comeee throughh meeeeeee" ...fuk each song (except for the last few) have a cool concept that they reach properly. I feel like it's actually a concept album and it should have ended at some but that's a different convo, that's not for ...fuk 2 so I'll STOP. All of that stuff was so exciting to hear when i first got into that band - real addictive and smart. I still considerate it the definitive indie album of my life, I was 16 when I first heard it and played it non- stop everywhere I went lol. Cleo, Twin Falls, and Some are probably among the best songs in their discog. Everything feels so positive and hopeful but still rooted - like the 20-22 year old dude living/paying rent with his friends around the corner could have wrote it, it feels so honest - like it didn't go out of it's way to do anything it wasn't capable of, but it still did everything it could. They captured that youthful "falling in love" emotion practically perfectly on this one - and i love the title even more for that because I know they recognized it and they weren't ashamed. They wanted others to feel it as well. Like, jam out to that break mid-way in cleo - where are you gonna find THAT anywhere else? Or the noodling/love-sick guitar strums behind the first person elementary narrative on twin-falls? Then Some just comes through and sends the enitre album into a SHOCK WAVE of emotion ....fuk || song/album: J_QLfE || mood/vibe: A man needs lovin', a woman needs a man to looove - so hold on to me, my midniiiight staaarrrr... CAUSE BABY YOU KNOW THAT I'M A REBEL!
66William Basinski
The Disintegration Loops IV

This one's mine. Normally, my attention span is kinda too jumpy to just focus on Basinki's loops for an extended period of time.. but d|p 1.3, hooked me. Was my entry-point to the artist and allowed me to honestly bask in what was presented without feeling as if I was "forcing" myself to gruel through it or whatever. The dude's incredible. It's so rare to find a song that encompasses the emotions presented here properly. Late night after a long talk and/or ...fuk kind of music. Very natural, evokes the type of satisfaction evicted through exhaustion - it's pretty surreal. Get under a cover, pull out the Nintendo 3DS and train GiaNXGX's furry ass vs the fifth gym to this shit (diggersby tho????) || song/album:: || mood/emotions: calm, fragility, vibrant, lush, weightless, pensive
65Kate Bush
Hounds of Love

Obviously Running Up That Hill, and Hounds of Love. Like, those ...fuks are undeniably catalogued in the ...fuk hall of fame for an eternity. You already know, your future wife (OR HUSBAND) already knows, we ALL know what Kate has given us with these hissing synth melodies, tribe-like drums, and as0dfjasdfpokasf perfect choruses that go dooo dooo doo dooo doo do dooooo and urrr ahhh ooo ooo oooh urr urrrr. And when that cello/violin (not sure??) > . < starts sawing away omg omg YESSSS - god, those synths for real though. Alright, but that's not the TRUE ...fuk i wanna put on display here, these aren't my fave ...fuks on Hounds of Love although they are indeed very good ...fuks. Peep that Waking the Witch track dawg (lol). Clicking play instantly transports your body to 11 year old (insert your name here) with eyes closed. omfg this is too much i love this track WAYYY too much, especially the first minute and twenty seconds like KATE BUSH is a goddess, no doubt. First time I heard this was in my bed pretty late im talking like 2:22 am, i have shitty insomnia at times. Anyways, yeah i relate to the song cause it reminds me of being a lil rascal and never wanting to do my homework and stuff - but loving how my parents and everyone around me wanted to succeed. It's a pretty great feeling when someone you love wants you to actually be a baller in life - but it can feel even better when a random stranger (or someone outside of your family) does, and i feel like kate conjured up those emotions through all the sampling/effects used on the first minute or so precisely. The words, "Wake up!" or "Wake up, sleepyhead!" "Are you still in bed?" and my fave "Look who's here to see you!" with the piano, choir, and reverb all in the back is probably one of the finest displays of production I've heard in my life. IT SPEAKS TO THE AMBITIOUS SOUL. And the themes/story/imagery the album depicts on top of all of that??? PLUSSSS how the direction of the song heads straight to hell after pratically putting you in heaven? I can't get into it too much more here through text, but you certainly can through sound. Pick this up as soon as possible, undeniable life changer. There's so many ...fuking ...fuks on Hounds of Love I might have to go ...fuking ...fuk a cutey like Kate right now. Hounds of Love you, Ire + Kate Thread Crew. Remember the Alamo. || song/album: || mood/vibe: family, assurance, kate, comfort, WOMEN, awwww, hounds, LOVE
64Animal Collective
Sung Tongs

OHOHOOHOHOHO Whadda y'knoOWWW whaddit i done??? it's ANOTHER Animal Collective ...fuk! But this one's special, see - I'll talk about Sung Tongs a lil' here and there but I'm gonna try to discuss Animal Collective's live recordings here too cause ...fuk is so long, there was no way I was gonna hit y'all with like every Animal Collective album/EP in the mix of this list (EVEN THOUGH I WANTED TO). I'll start with Sung Tongs, which is pretty much how my mind percieved music when I was a lil rascal myself so it was a BLAST hearing this kind of music for the first time. LEAF HOUSE bzzzzzRRRRRruhhhhHHHRRRRRRRRR, song reminds me a lot of Steve Reich's Music for 18 Musicians - just how staggered/extensive it is in doubling effects and that PULSE. Perfect kind of song to set the mood for the entire album too, sets the listener up for what's to come - stripped down wild/creative fun. Man... must have been a blast - I'm not sure if Animal Collective could hit a wall as far as expanding their sound goes, cause they were constantly progressing and exploring ideas but MAN what a great place to say, "let's abandon EVERYTHING and see how intense it can get, how much we can learn from the GROUND UP" right after here comes the indian, yessssssss. Each song feels like it's after a specific ...fuk, but all types of experimental - they all have a plan and shine soooooo effortlessly. They don't take themselves too seriously either, well in a way they do (i mean look at how brilliant some of these songs are) but what i mean by that is it's all so frenzied, almost comedic - you can tell they're having some SERIOUS fun here.. it's all so amusing. Deep chants around 1:50 of Leaf House that lead into the uprooting of "theeeeeere's no- ooooone, noo-ooooooooone" at 2:02, ughhhh ...fuk. That guitar/pounding too - all so cohesive, ESPECIALLY panda's little "TE-TE-te-te-tu-t-u-tu-tu-" spurting blasts that come in at 2:18 - awesoooome, "Meowwwwwwwwwwwwwwww". So happy. But if you want a totally different take on the song/mood presented in sung tongs check THIS out - . WHOAAAAA check out how that "nooooo-ooooone" comes out, feverish wayyyyyyy more feral and raw, almost hypnotic. Mannn, that lightning too all those shadows lol and - what a hue of red. ANIMAL COLLECTIVE LIVE is the REAL deal. I don't know whether to talk about that video or the studio release! WE TIGERSSSSS -- wooop! WOOOP! WOOOOOOP! Man, I could get caught typing on this one all day. I think this is my fav period of Animal Collective, ugh it's so hard to even pin that down though - they're always all over the place in the best kind of way. Here, let's talk about Winters Love for a sec (; omg awwww - here: . 2:33 nothing even needs to be said other than ...fuk. I wanna talk about every song but let's finish it off at Mouth Wooed Her which could be contender for my fav track on Sung Tongs, listen to ALL those layers in that beautiful music going on!! And that stop/go-rewind/FF fastFORWARD spastic-y/uncertain nature of it all so chop|PED "No, I don't want no ONE __ want no _ NO, i dont WANT no ONE - NO - want no _" that distant beep of the synth that trails it and spirals down and the kinda mist-y splash effect behind that vocal line before finally hitting that, "NhhhheeeeUHhhHHHhhhheEEEhuHeee" ...fuk!! I asdjfaios LOVE that part. Like you're being barraged with decisions from every direction and it's they're all so irrelevant, which makes things even more undecisive - stop|repeat|stop|LOOOOPED before finally just shrugging it all off, actually nah i can't even really pin down what is being expressed here.. but i definitely feel it, like kind of admitting defeat or submitting for a sec to it - just so you can REFRESH and gain a clearer mind like how Avey jumps right back up into the song with instruments following way better off. This song reminds me of like a clogged mind trying to de-clutter itself a bit, trying to just fetch a great thought it knows it's after. Man, that liquidy feel - how crisp/aquatic and fresh it all is when he whispers "i need mouth waterrrrrrrrrr" before it all fades out. Man, GOOD LOVIN OUTSIDE's intro is SO amazing too - those distant samples and how jumbled it all sounds.. there's some magnificent masked melodies back there.. sounds like you can do A LOT with all of these songs. I love coming back to this album, sometimes I pick up on things that I never noticed before, especially in some of the later tracks because they aren't as frequently played - every song has become a favorite.. man... i love this but LMAO whaddit i done is RETARDED im sorry aiosjdfiaosjdf WHAT???? lmao i love it though i mean it has some cool moments wtf is this a donald duck jam though -- wonder what the thought process of putting that song on the disc was?? also VISITING FRIENDS IS NOT BORING... Oh, speaking of which if you dig Sung Tongs plzzz... CHECK OUT this LIVE recording from their Other Music session: . There are SO many great songs on that one - CoVERED IN FROGS COVERED IN FROGS COVERED IN FROGS "hey friend I've GOT TO GOOOOOOOOOO sorry i can NOT stayyyyyy -- I WISH I HAD MORE tiiiimME, i wish i had all DAYYYYYY but heeyy FRieEnNNDDDDD t-t-t-t-t-t-t----t-t-t--t---ime---- gooooooooesssss FAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAASTTTTTTTTTT" ...fuk!!!!! HAPPY SINGING BAND AND UNTITLED ARE PERFECT - A totally unique/flawless animal collective reindition of Nirvana's "On A Plain" which shreds prolly even harder than the original on a creative scale (sorry Nirvana dudes ily2 though) "I loove my- selfff better than youuuuuuuu" THE freakin' version of Lablakely Dress omg and tons more!!!! but we'll get to all of that in the Hollinndagain entry!!! Wowww i love animal collective hello my name is ethos aka ethixx aka ethics aka christian aka illmatic aka llllllll aka mcadoo aka __lll and i love animal collective it will say that on my grave mark my words. Man, I think im just gonna write all the Animal Collective ...fuks write now cause im just in THAT kinda hyper mood y'know.. See ya when ya get there, dudes? ?? Oh and one more very crucial thing...if ANY one of you want to CHANNEL the Animal Collective spirit on some FUN covers of our OWN- - - hit me up and that's not even a joke son that's like a done DEAL i will DROP everything for that. UNTIL the next Animal Collective ...fuk, CYAAAAAAAAAAA || song/album: || mood/vibe: YIPEEEEEEEEEEEEEEE ___ WE TIGERS __ WE TIGERS WOOP! WOOOOP--WOOOOOP!
63Broken Social Scene
You Forgot It In People

First album I was recommended in my LIFE, son. Prior to this I had no friends to share music with outside of the internet. I tried, but it just didn't work out. No one wanted to hear My Bloody Valentine, Radiohead, or The Police in late Junior High/early High School. You Forgot It In People marks the beginning of so manythings for me, starting Smash competitively, the start of my 16th summer, the first encounter of one of my best friends. I remember he saw me listening to music and said he was into it too, asked for my iPod - didn't recognize much.. but liked what he did. Then he just told me to listen to this. He didn't hype it up a lot or anything either, so I didn't have a ton of expectations before deciding to check it out. It's so strange, but I can always remember exactly what I was doing the first time I heard nearly any album in my life - especially the important ones. I put You Forgot It In People on my iPod like the night before but wanted to save it for a good time. Asked my teacher if I could go out during advisory (a break period), then just went outside and put this on. I knew from the moment it started that I was going to be close friends with the dude who rec'd me this, and that sounds sorta vain but idk the music was just so rich and full - I felt like I finally found someone who appreciated music similar to how I did. During that break, I went outside my school and just kinda started walking around.. it was a real sunny/breezy day and "Looks Just Like the Sun" came on. Absolutely perfect. That whole build up starting at 1:48 and ending at 2:37 "Looooks, juuuuuust liiiike it" ...fuk Then Pacific Theme came rolling in right after it. Felt like I was walking beside a beach instead of some t-buildings outside of my school's main campus. When that harmonica comes in on at 1:43 ...fuk. Cemented everything, I had to get to know this guy. Turns out he was three years older than me and one of the coolest people to ever live. From that point on we shared/discussed music with each other endlessly over aim and in person - we both also played Smash competitively too, so that was a bonus. Probably like a year and a half ago we both decided to pick up instruments and try to just DO something together. So much was thought and planned, thing is - I was too obsessed with sputnik/discovering new music and coming to terms with my own taste and what i enjoyed, as well as yugioh and my friends and a GIRL ugh to take actually playing an instrument dilligently very seriously. Such a great friendship, I seriously have the best friends ever. Just constant enjoyment and laughter. I'm kinda a weird dude too so he put up with a lot of my shit lmao. Anthem For A Seventeen-Year Old Girl has so much promise within it, the song just feels like it means well. That's kinda what this whole album signifies for me, promise and beginnings. Time passed and he's pretty good now while I practically suck/know nothing as far as technicality is concerned. I deserve that. But I never feel as though I even tried. I never put in the insane amount of effort like I normally do in everything else when I really WANT to destroy something - I'm not sure if "I" wanted to make music at that point yet (despite all the listening), more along the lines of "we" did. Now? All I think about these days is just playing - regardless of whether or not I suck at first or whether what I do is good.. I just wanna move out (noise issues @ home/don't wanna feel bothersome)/PLAY and express ideas and emotions all while experimenting naturally. I wanna have like a whole summer to just MESS around and do whatever I want, those summer breaks I got as a kid with a new copy of Paper Mario and four cleared save files type of grind. I've been saving up mad $$$$ for just that. A lot has changed since our first attempt, I've come to terms with a bunch of things - have learned a bit about music, myself and idk life i guess.. probably for the better. And I haven't forgotten what we planned. That's a promise. || song/album: || mood/vibe: very beginning of capture the flag or like 1:31 in shampoo suicide YeAh yEAh yEaH YEAHHh guess you'll have to listen to figure that out through a thorough listen :X
62Bone Thugs-N-Harmony
Creepin On Ah Come Up

DAMN this shit is FIRE y'all these homies are spitting some raw choir shit, thuggin as hell. LMAOOO, everything about this group yells unique. Just take a look at these nigga's names bro, Krayzie Bone, Bizzy Bone, Flesh-N-Bone, Wi$h Bone, Layzie Bone - now you KNOW when you see a $ in a rap group's name replacing an S you're in for a ride and they definitely bring it. Intro starts with some maniac demonic ass choir ouji shit, PROMISE you you've never heard something like this in your life son - if animal collective was born in the early 90s as a rap group - this would be it: MURDA MURDA MO' MURDA MO' MURDA MURDA MO' MURDA MURDA ...fuk. Deffffinitely pushing the envelope, I have no idea what these dude's were on but like creativity oozes from this album like no other, you'd have to be dead to not recognize this talent. AND THUGGISH RUGGISH BONE????? don't even get me started... mannnnnn "We're not against rap... we're not against rappers... but we are against those thugs.." when her VOICE hits that beat??? ..FUK!! that's one mean ass combo - and the flow is SO right - THIS RELEASE BRO the NINETIES (90s)!!! it's all just on some smooth ass tip type shit i promise you - get it NOW you'll dig at least half the tracks off the bat - fo the love of $$$$ and all that robotic crazy chorus synthy creepin on ah come up, you'd have to be one pissed lil bitch to not appreciate this. and i know you aint no bitch.... || song/album:: || mood/vibe: LMAO look at that dude's face on the COVER wtff that's this album man - - CRAZY COLD . . . . . (Havey, thoughts on Julius Eastman's Evil Nigger?) Havey: only good nigger is a nigger in my basement i call it nigger jail July 18 02:27 AM
61Koji Kondo
Super Mario 64 OST

Before getting into this one I wanna take a minute to share this paragraph MisterTornado wrote in the thread of his Taku Sugimoto Quartet / Octet review, "My connection to Mario 64 is intense. I remember my older brothers getting it for Christmas in '96 and being in awe of how beautiful it looked. What by technical standards is awkward polygons and crude texture maps now was something I'd never seen before. I don't even remember playing it that much then, just watching my brothers play it and getting lost in that little TV screen where the fireplace is suppose to be in the basement. A couple weeks ago I was determined to finally beat it (120 stars) and when I did it felt magical. I haven't smiled that hard in a long time. Maybe all of this is laughable, but oh well, this is who I am. I miss that era of graphics too. Not in a nostalgic way either, but to me it just looks better. Games these days are so bent on convincing people that these virtual worlds are reality with boring, multi-shaded textures, "realistic" colors, shadows, and lighting effects that look wrong and awkward in comparison to the real thing. The single tones and bold colors of a game like Mario 64 (and countless others for the N64) weren't trying to heave reality at anybody, it was about exploring the VIRTUAL; places that we know don't and cannot exist. It's more unique and imaginative that way, especially for little kids who grow up on these things." ........ He absolutely nailed it. My experiences with Super Mario 64 are strikingly similar, and I can bet any child who just so happened to get ahold of it in that era of video games would be as well. On my fourth Christmas ('97) my parents wrapped up a Nintendo 64 as a present for me. It's all so distantly blotted in my mind, but I remember the only game I recieved along with it was Super Mario 64. I don't know why my parents decided to just get me THAT game, whether it was financial issues - or they were knowingly setting up some kind of exclusive time-sink/distraction for the harsh winter (unable to go outside) that came around that season in Canada (I moved to Texas in 2000). Whatever the reason, I couldn't be any more grateful looking back now on their decision. I had a SNES previously and played it a ton the previous year. But the N64? From the moment I opened the gift I played Super Mario 64 religiously. It was the only game I had.. and it was seriously all I needed. The game was MY world the moment I stepped into Peach's Castle and heard she was kidnapped. I couldn't put it down, in fact.. I didn't even want to. Everything that I wanted was right there in that TV screen. "You can't go outside alone, Christian! It's too cold." Jumped into the portrait of Cool Cool Mountain then raced the Mom Penguin down the slide of that small cabin. If I wanted to just explore, I had the ENTIRE castle to myself (and a few toads/one rabbit) to be curious in. Everything was trial and error, I'd try some of the absolute craziest ideas/young thoughts to move forward. Then I would carry the thoughts to real life in situations I faced to see if it worked there too. I was living in like two different dimensions - sitting in front of the screen playing Super Mario 64 and then everything else that I led within my normal day-to-day life. But I think the best thing behind all of that was there was nothing I had to assert myself to. There was no time, no curfew or limit (other than heading to sleep for my bed-time) I based my day around how far I would progress in Stars. I had all the time in the world. Time and confidence are all a kid really needs. Trying to pick up the bomb-king and throwing him off the cliff was hilarious, then seeing him jump ALL the way back up??? Jumping into a plain old WALL to enter a DESERT. WTF LMAO. LOOKING at the CEILING of BEAMING LIGHT from the silhouette of the castle them TRANSPORTING to a SKY where your cap has wings and you FLY BETWEEN A SHINING SUN, CLOUDS AND RAINBOWS????????? "HeeeREEEE we GOOOOOOOO!!!"...FUKKKKK. I'll never forget how happy I was when I figured out the "face the Boo backwards" puzzle to unlock entrance into the Mansion after having a real long-shot of an idea that it would work. How I nearly shit my pants and turned off the N64 immediately when the jolting music in Boo's Mansion played after trying to fetch the single Red Coin behind the Possessed Piano. When it started chomping and those keys were struck like repeated jolts, Mario ran like HELL out of the room. That was one of the first moments in my life where I was so curious as to WHY the music evicted such paranoia or fear out of me. "Ghosts don't die! Can you get out... alive???" I figured out that muting the Boo's Mansion made the level much more easier (pussy nigga) and gave me 30x the amount of confidence. But that entire world's atmosphere itself - the song was incredible how eerily staggered the ambience of the song was and then the xylophone hitting random scales back and forth behind an anxious rattle - looking up at the Mansion itself and just being completely engulfed by it's stature... how ominous and red it was - then you had that pitch black sky to complete it all. Dire Dire Docks blew my mind. The "Eternal Melody" MisterTornado mentioned in the thread of his review is very real. That song could last for a long long long time before I would need something new to hear. 1:11 of the song, how the strings or synth (i'm not sure??) start swelling and reaallyyyy drive the song - when that drum kit starts jamming, godddddd @___@ so many ...fuks. THE EEL??? Single-handedly takes all the credit for establishing my aquaphobia trait at such a young age. WHY DID THEY PUT THE STAR AT THE END OF HIS TAIL??? Not only that, but you had to get all up in his grill just to get him out??? Lmao, genius. Nah I lied, that HUGE fish on the Mega/Mini Island can take some credit for me being afraid of drowning as well - always ate me. Man... this game's classic. That final song while facing Bowser????? ...fuk. __________________ I beat the game a few months after that Christmas in '97, around the earlier portion of the 4th year in my life. My parents lost their mind in amazement, my neighbors would come over to see if I even had the motor skills to retrieve a single star. I remember the entire street giving me praise for it, they wanted to call the news and all sorts of funny/crazy stuff. I don't care much about the achievement, I mean sure - it's pretty cool I did all of that at such a young age. What matters to me is the fact that it still exists. That I can take around eight steps towards the TV that I own now, push up that same Nintendo 64 switch - beat the game again and hear that absolutely beautiful credit roll exactly how I did when I first accomplished the challenge I set for myself at that age. The thought of a group of game developers, musicians, etc etc. sacrificing so much time into forging something so relatable and creative for young minds to experience and share with others when they grow older (as MisterTornado knows), that's what ...fuks me. Cause that's what art is all about, right? And of course... how Dire Dire Docks, Snow Mountain, Haunted House, etc. hooked me with their sound and pushed my mind to stick through it all until the end ...fuk. || mood/vibe: They don't make them like this anymore. Maybe someday, when the passionate gamers who were able to live through and experience all of this on their own grow older and want to reciprocate the beauty and art of gaming - we'll get another complete masterpiece from Nintendo. Until then? New! Super Mario Bros Wii U x 40 releases. :"( Actually, nah... Mario Galaxy and a lot of 3DS games have been off the chain as far as originality/creativity is concerned. Plus Smash Bros is coming out so we're good on the challenge field. Nintendo Rules. Shoutout to Banjo Tooie, Paper Mario, GoldenEye 007, Mario Party 2, Bomberman Hero, Super Smash Bros., Majora's Mask, Kirby and the Crystal Shards, NFL Blitz, Cruising the USA, Diddy Kong Racing, Mario Kart 64, Pokemon Snap!, Tony Hawks Pro Skater Series (great ska/rap soundtracks) Starfox 64, Snowboard Kids and anything else I missed. If anyone's in Houston/wants to chill and play those while jamming out to whatever, hmu hmu hmu. Not kidding either, lol hmu 4real. also: || song/album: (Dire Dire Docks, Staff Roll.. especially)
Bye Bye Gridlock Traffic

Sitting in my room trying to head to sleep, Secede's Bye Bye Gridlock Traffic playing as (what I thought to be) an ambient/glitch soundtrack aiding my insomnia. On this initial listen not much stood out to me as exceptional from the first half of the release until Now I Can Weave Magic Spells started to form somewhat of a rhythm through the dainty piano, it sounded so nostalgic and kinda short lived for it's beauty - I wanted it to do a lot more. Then I remember just jolting out of bed and having this huge smirk when Greetings Twinsunian started up. Like LOL I specifically remember instantly getting insanely hyped off of how that transition drifted in. Bass notes kinda lingering around an active beach/some playful child-like melody in the background and whatever that scratching was going on leading into that drumn'bass lead :35 ...fuk. Everything instantly clicked, looking at that album art made a lot more sense..especially in that dark ass room. Dainty piano was back along with a flute, felt so whimsical but really refined - like this dude has been etching out this track for a while making sure everything sat in the proper spot efficiently. 2:17's strings started to blow me away but the sawing around 2:30 is what ...fuk'd me, along with how it all just reached it's climax at 2:57 while the rest of the track dissolved out. Then nodding to that earlier children's melody I initially came across upon first hearing this song and dodging into a whole new beat just when I thought it was gonna lay to a rest around 3:43. The track just had so much control over itself, it felt as if it was a supressed thought finally being etched out (as the reviews to this states). 6:27 to the end is so cinematic, the manner in which it resolves is a ...fuk that I will never forget - especially how it jumped into Return To Island CX which felt like some Maplestory Bamboo Village jam of a panda's lifetime. Cue that giggling and ooooooohhhhh ...fuuuuuuukkkkk 1:27 niiice what is this now?? Like space-jam jams and WTF is that 1:51 the grasshoppers outside my window swarming into my room??? ...fukk idk what woodwind that is but the whole time it's cruise control for cool. Outran is nice but I don't know it doesn't ...fuk me too much I just feel like I'm in a cool little mini-boss zone or something. What ...fuks me is Bye Bye Gridlock Traffic's opening @___@ Secede needs to get behind some video game soundtracks ASAP like this dude's been playing some Megama I can guarantee it. Omfg 2:01?? chchchchchch BA DA bd-d-d-d- DA with that swirling staircase rhythm as the chchchch chc hits are just completely going asdofkaspdofkas ...fukkkk HI- YAAAA 3:01 man, each cut/hit this is some bombing percussion wow this could possibly be best track along with Greetings Twinsunian 3:44 track can just not let up, melody behind all this is great especially at 4:13-4:28 man this song is out of control. Manner in which it winded it down left me speechless and Say I Said So/Age Tandems hit just the right spot and mood to where I could finally fall asleep. Lol, after replaying it all over again. || song/album: || mood/vibe: mindlemusic
59Circle Takes The Square
As the Roots Undo

Lol, I love whistling the Intro's melody in public and seeing if anyone recognizes/ but anyways yeah "REJOICE, REJOICE A NOBLE BIRHIOSDJIFOSOIFJIOSDJFSDF" ...fuKKKKKKKK !!!!!!!!!!!!!!!!!!!!!!! ____ AWWWW SHIII. omfg this DRUMMER is leaving EARTH, circle takes the square's switches are prob the greatest in the genre no LIE and this is a solid 4.5 for life --- "i'll do us a most inspired SONGGGG" - - - switch -- - ...fuk 1:03 drums picking up WOOOO wtf this band's cymbals are : )) ) ) lmao these switches are so hilarious but idk they seem real good i mean yeah they're GOOD, RIGHT??? 1:39 time to escape master's quarters and sing slave hymns yummy yummmy harmony 2:09 oooohhhhh girl alright i'll let the flood swell god dammmmm OHHHHHHHH SHIHSSHSHHSHSHSHSH shaking/trembling 3:01 wtf is this like some dub track now??? ...fuk CROWQUILL nice nice nice drumming is it the rising roofline blah blah blah body increase ok im just listening to the drums okay whateverrrrr OH wait DAMN okay that stop/stumble at 1:10 omfggg DRUMS PLZZZ okay that shit was !!!! ... that bass line with those vocals too??? ? WHATTTT ....FUKKK this is some new type of hardcore shit these dudes are the real deal that track killed it -- - - "whisper whispers invoke implications whispers whispers invoke implications" alright now im kinda convinced by this point this may be kinda one of the best ?? screamo? ? ? like we're 4 four 4 now idkk are the tracks even gonna let up??? that ...fuk after "GOOOOO" and those stampede drums lmao that's a nice one uh oh we're going all kinds of directions here is the song gonna fall apart? nope chorus will bring us right back into security, okay that was a close one - btw i can feel that thin strand resting in a pinch and i can also feel that ...fuk that came in right after you cursed constantly yep right at 2:37 that's where it starts the dip of the bass and backup vocals help too but mannn 2:57 yeahhhhhhh DRUMSSSS and wavy guitar lmao 3:13 okay you can have a break man ...fuk don't want your back fucking BREAKING 4:11 niiiice use of vocals and rest of the instruments mimicing rhythm then actually breaking at 4:25 into "IN THE NERVOUS LIGHT OF SUNDAY" interview at the ruins is cool too i guess i mean idk you kinda let up for a bit and this is where im like ugh i wish circle takes the square just fucking killed it like they did those first four songs the album i mean i guess creating melodies out of "a murmur from the ruins echo softly, as the roots undo and the branch becomes...." is pretty cool after that guest appearance sample by Yoran specifically from the track Montparnasse behind the vocals earlier on but im looking for a stronger ...fuk out of that, if i want a sing-along i'll turn on pbs kids not circle takes the square. okay alright, Non-Objective Portrait of Karma's intro was awesome to fall asleep to on my bus on the rides to school in the morning UGH wtf is going on here i mean it's obviously good it's obviously ctts no doubt and this song has it's moments too 3:57 is cool i guess and that switch at 4:39 plus the end but ........... they were outright killing it earlier ugh im pissed and lazy i'll mean i kinda just wanna end the ...fuk here i mean kill the switch yeah 4:09 tempo ...fuk, yeah light cowbell, "in the direction of the sun CHHH CHHH pah pah" is cool too...sorta. and of course "i know it's been done before, i wanna do it again - i wanna do it again" that ...fuk is screamo godsend, oh and that completely out of control ending, man like i said before i think that drummer is on some other type of shit omfg feel that shit - there's NO stop from 8:30 on UGHHHHH YESSSSSSSS 8:37 aoisdfjadsijofiojadsfOSIDFIOJ completely WRECKED an absolute rush everything flew off the map there's no coming back after that RIP sputnik indie users oh but wait we have a PUSSY ass reprise from a crater to cough in mannn fuck im not hating on ctts or anything and im not even dissing these songs at all but if it would have just been like intro, in the nervous light, crowquill, in the nervous light and kill the switch we would have had a perfect screamo record here dudes - no breaks for some proggy build-ups with instruments we've already heard spicing it up a lil, no falling asleep on the bus ride to school in 10th grade.. uhhhh ok yeah this one's done lol || song/album: || mood/vibe: SDLKFMKLSDfjioasdjfklSNDfaosijdfpoadskpfokpSDFlkmclvxc
58Advantage Lucy
Have a Good Journey (1996-2000)

"Cutest female vocals since Marilyn Monroe + best language ever (Japanese) = hands down greatest album of all time" - BaselineOOO (August 2, 2012). Soundoff sums it up prettyyyy well. Advantage Lucy was such a great little band to stumble across during mid summer of last year. You can't predict much of what you're going into from that cover but let me tell you now - get it, there's just so much sunlight here.. soft but still bright. Not sure why they chose two colors of blue and green for the cover art instead of something a bit more fitting, but it still works i guess. This girl's voice for real though???? INSTANT MELT. If you're down with "lalalalalalalalalas" or "booo bah bah boo bahs" left and right lmao this is your savior. Sora wa ugokazuni, what a bouncing opener. Mannnn those riffs are sooo lively and animated i love it - but then we break down into some "ahhh ahh ohhhhhs" for the chorus and get a lil snazzy ...fuk. Second progression of the chorus is awesome, "Nyaaeee nyaeeee nahhhh" lmao wtf yes. SPRING IS HERE boys and girls and Advantage Lucy is gonna be on full rotation. Red Bicycle, awesssomme. Dun dun dun - drums are so quick, and when that harmonica comes in ...fuk yesssss.. Plus she speaks english for a moment or two which is always cool on these cute lil japenese releases. Nico is the real winner here though, which is strange cause it doesn't compare to any of the others at all. Contender for strongest sweeping accordion??? Definitely. Reminds me of some late night - starry skied cliche french scene, but the way the pace of the music seduces you into it's vibe makes it feel genuine and not forceful ...fuk. HER VOICE, gasdafopkpokasdfmkasfmxcvklmasdofpkapsdf.POkaposdfpaoskdfalkklcvxnlkpoopdoop kaocvxkml.. || song/album: (check this out too: || mood/vibe: CYGNATTI'S COOOL
57William Parker
The Peach Orchard

Ever wanted to completely lose your mind to SOME jAZZZzzz MANNNnN? - [2] OHHHH mann well im back from the @__@ Help Me list and hey, guess what? this is freakin' masterpiece. It has been digested by ethos aka ethixx aka ethics and now it's ready to ...FUK. This release is so long...two hours and fifteen minutes but EVERY song brings the most passionate/intense free jazz you'll ever hear. AND IT DOES NOT COMPROMISE. Lose your way along these notes and pretty much just drop what your doing/come back another day cause the mind's gotta be on that sharp mode to pull out the beauty from this masterpiece. And I'm not trying to be be snobbish or conceited either, this is just a relentlessly unforgiving listen. I'll cover TWO tracks from here, they all hold fantastic ...fuks but I'm gonna keep it short and to the point because I think this kind of an album is better to revisit and discover it's intricacy on your own. Thot is essential, prob the best opener to nearly any album ever - 5:47's piano is off the chain, all of this is off the. God, LOL I actually don't even know how to start with this.. like what I said in @__@ Help Me is kinda blotting out my train of thought with how to approach this write-up. Every time they break into one of those slow rhythmic bass leads like at 7:24 and the crowd starts slowly clapping, digging all the rhythms being thrown at them you feel a ...fuk. I'm not even kidding I feel ...fuk'd for like almost an entirety of this album if it's late at night and my mind's super focused or i have some intense mood of concentration - picking everything apart and putting it all together/making sense out of all of this comes naturally but there's so many things going on i can't even stop the time and tell you the deal. Then when it slows down i'm not as ...fuk'd as i would be but the sheer beauty of what's being constructed is so painstakingly obvious that i don't want to mention it. Maybe im just real lazy right now i dont know ugh i just want to include this on the list honestly cause it deserves an insane amount of attention. If we were in person jamming out to this jumping around the room then we could definitely exchange thoughts cause it's instant but THOT is kinda like a train flying off the tracks and it got me this time... maybe i'll come around later and be able to take a stab at it better in the near future for describing but right now im just laying on my bed soaking in all these rhythms/ideas being thrown around and saying ...fukkkk. Can someone please write a REVIEW for THIS please??? ANYONE?!?!?!? for discussion?? i wanna talk music?!?!? someone knowledable??? im not gonna cover moholo intensely but that sax playing at :31's exhale as well as :41 ....fukkkk ALRIGHT the other song i wanna cover --- POSIUM PENDASEM #3 i won't let you down, william parker and co. i got this ...fuk in the bag. start off with some graveyard shift kinda eerie sp00ky vibes and a Guest appearance by Yoran from Montparnasse throughout like the entire track and we're set for some INTENSE/otherworldy sounds right when you click play. and then it hits.... 2:10 .....fukkkkkkk you just feeeeeeel that creep of DEATH... Yoran in the back is seriously putting on a show with his rattling - this is too much 2:51 again - ugh shudders from that piano wayy distant at like 3:05 ...fukkk 3:25 - 3:30 sputter ...fukkkk feels like this tracks being sawed apart in some grim forest. 4:44's switch ....... just the texture of these notes are unreal and it feels like something is completely goin insane in the membrane from the far back most apparent around 5:24. The squall of 5:41 is incredible 5:47 even better ...fukkk wow there i go again just laying back and kinda getting thrown into all of this beauty 7:22 is when we're met with the 2:10 creep but the sax in the back starts jamming out with xylophones/piano hitting such a direct and distinct emotion that it's something you have to hear to understand. 8:22 to 8:30 ...fukkk 8:38's racing to 8:45...fuk all these notes being hit sound so calculated 9:10 we hear a few cymbal crashes and the song starts to slowly perish away along with chimes/jangles ......... tragic. ......fukkkk || song/album: || mood/vibe: THIS ONE SUCKS

EP SLAYS. Ohhh mannn, whenever I get a new pair of headphones it's always nice to jump right into DjRum's Mountains click Undercoat and see how hard that BASS booms :56, ...fuk - right THERE. I had virtually no history of dub/techno type style of electronic before this and Mountains couldn't have been a better place to start. Production is flawless, I mean I'm already riding that beat like none other - but when 3:25 hits on Undercoat and we dig even deeper, hear some slight breaths and a ping- pong match being played out? Then WTF is this like ORB of hypnotic red mist approaching? Kinda textured just like that skull's face on the cover ...fuk. That chick in the back saying whatever idk lol just perfectly echoed to the massive deepness of it all. DEEEEEEEEEEEP BEEEEAAAAAT. Kinda linear, but who cares - this gets inside you and just expands outwards. That raggae influence near the end of Undercoat/all throughout this album is wicked, kinda Bad Brains vibe going - then it whisks itself up and we're left with crying before heading into some murky "what about gravity" space cadet even DEEPER beat of Mountains Pt. 1. DAMN, this dude can produce... like WOW. Notice how that smoke-like presence kinda whisks away slightly reaching higher and higher around 1:02 before heading into the main portion of 1:10...fuk ughhhh this is like TUNNEL jams it's focused so intently on that portion of your ears sorta rotating - lots of circular motion. Pendulum vibes throughout, that heavier portion of the track reavealing itself at 4:01 - adding to the psychedelic effect that's already presented with all the trickling/vocal sampling. Mountains Pt. 2 & 3's rush into a elevated tick tick tick - before unlocking into that faded deep rush that hits at 1:11 is THE ZONE. Applaud it up, samples - this track deserves it. >>>>>>3:30 - 3:34
55J Dilla

Repetitive. Wayyy fast. Two things that I couldn't get off my mind when I first heard Donuts. Was about to call it quits for a bit (pick it up again to hear later, wasn't in the mood for a strictly instrumental driven album at the time) until Time: The Donuts of Heart busted through the gate of the coda in Mash and shut me up instantly. o.0 ??? > . < ...FUUUKKKK - song ended. immediately hit repeat. "just as good." song ended. immediately hit repeat. "better that time." i swear i replayed time: the donuts of heart like four or five times the first time i got to it. i've never heard an artist put that much soul into a track under two minutes in my LIFE - i STILL haven't, i'm not sure if i EVER will. the track just epitomizes everything dilla's the absolute master at - quickness, an immediate connection, soul, - and the realest beat-making of all time. he puts you in the ZONE. bob and weaves like no other, all his tracks are on it's feet - hits you with a punch then dodges all the bullshit and hits you with another. you can only stand up to dilla for so long, the tracks will eventually knock yo ass on the ground. so light and positive, confident - confident - confident. the way mash transitions into time, that little blurb near the end is what sparks it off for me. you can play time on it's own and it'll still be great but the way mash sly-ly slides it in there, leading it in - that's the killer here. time is seriously that one track that's so good when you first hear an album that you double take, re-evaluate the way you're approaching the album - then re-visit and discover that the WHOLE thing is actually perfect. mannn oh mannn, j dilla dawg you and i would chill i feel you on this one son. you did it for the hood here nigga you really did. THIS MAN IS MUSIC. now you KNOW dudes be dick riding the SHIT out of j dilla but i'll swear back and forth that THIS guy deserves it. grinded the HELL out of his craft, and certainly achieved it. WE NEED MORE ARTISTS LIKE THIS. "i'll show you how my voice made an unbelievable baby girl..." THESE samples are so fun and relatable - dilla has that made from scratch, mom's in the kitches cooking grits with love kinda vibe, he he BRINGS it like he's fighting for that mom. Two Can Win. INSTANT HIT. ...fuk. Dilla Says Go "ohhh i'll get it over it baby" as the chimes progress/muting in certain areas exemplifies the beat...fuk, the little switch in walkinonit at :44 out of NOWHERE ...fuk "bring the heat rererererere", "you better STOP!" -- pause -- " and think about what you doing!" ...fuk, intro to "u-luv" that cute piano jumping in "just becauuuse i really love youuu" ...fuk the crackling from the production in bye and that little "waaaahhhh" plus the "i wanna f- - -" and how it all slows down and starts whirling. Way too much fun, it's so charged and hyped - you can't get bored if you're just sitting down and appreciating each song for what kinda creative idea it presents and how it goes about doing it - each song holds a specific idea/thought and it's so quick too so you'll be unraveling all the musicianship at work here repeatedly for a while. SOMEONE HELP THIS MAN, HE'S A SAMPLING-FIEND. I'm warning you now, you're gonna crave this shit. Dilla's speaking beyond the grave, the album is going to remain a classic for a real long time. Heartfelt music, definition of love. Rest in peace, Jay Dee. || song/album: || mood/vibes: BLACK-CULTURE, quick, love, delicious, jams, swan song, J DILLA CHANGED MY LIFE
Rocket To Your Heart (Hot Tracks Remix)

So about a month ago a friend asked "What do you know about that discooooo tho" and I just sat there speechless. Other than like Arthur Russell's late stuff, I had nearly no response. "Uhhhh, Donna Summer???" lol i seriously had nothing ...fuk. We sat and talked for a while about what we've been doing/looking into lately and came to the conclusion that we both absolutely had to get into the genre just cause of how funny/fun it would be. I personally wanted to find like some dark demonic disco jams (i wondered if it even existed) and he got crazy hyped off of the thought that like dracula/frankenstein etc could be in the club chillin then dipping out and murdering fools. Like a day or to passed of us both aimlessly digging through databases/youtube links - sharing them back and forth over aim, talking about what we thought... when we found LISA'S - ROCKET TO YOUR HEART. We wanted some shit that prowled the streets and bit on necks or whatever but nah after Rocket To Your Heart it was ultimately clear - HAPPY DISCO = BEST DISCO. Track's tooooo strong, if someone broke out an LED-light disco floor in Houston and played this?? Promise you I would be one of the first THERE dancing my happy gay taco ass off. Disco's so much fun to explore cause it doesn't even take a lot of effort/dedicaton to jump into that era and start sifting through jams - they're all like eight minutes top singles, man I've found some jams - if you got any or know of any send it my way. A bit of it sounds dated, but Rocket To Your Heart seems like it could have been made as a throwback kind of nod to artist's of that time by anyone today. It's way cool just to see how far electronic/dance music has progressed - Rocket To Your Heart gave me inspiration to start wanting to discover how to lay down tracks of my own (electronic). Feels like you're fizzing the whole way through - tons of carbonation and bubbles - a maddening spedupchipmunk (sugar) rush, the kind that makes you DANCE - THE - NIGHT - AWAY. Grab a red 7/11 slurpee and just chug that shit then YIPEEEEEEEEEEEEEE for 2ish hours and crash. I wanna drink Pepsi Blue again ughh those were so good this is so good too :57 when they introduce that first jetting synth - and you moderately hear the boop boop bah bah bah bah bah bah - like a hammer just hit the high striker at the carnival and the gauge is raising higher and higher about the hit the bell ....fuk. My ultimate fav part is when they strip away the vocals and just the beat seep/groove into your head and jump around on it's own at like 3:03 raising in pitch as it progresses, you're just SHAKING that Pepsi Blue bottle - throw some Pop Rocks in there for good measure and let it EXPLOOOODE at 4:02 ....fukkkkkk then how it trails off in a different direction with like exhaust or something at 4:18 that part's probably the best ...fuk actually wow man this track is wayyyy tooo good, major props to my girl Lisa. DANCE - THE - NIGHT - AWAY. . . . . .. ROCKET - TO - YOUR - HEART!!! || song/album: || mood/vibe: !!!!!!
53Guided By Voices
Bee Thousand

WOW this one is a true gem. I just lost like half of the ...fuks I was writing and then found a backupfile somewhere in my computer where they were all written out to be transferred over and this was the only one that was left to redo. Anyways if you ever are perhaps looking for a gem, let's say a hardcore gem or maybe even a INDIE gem??? then LOOK no farther, guided by voices has 20 huge gemmers just waiting for you to gem. Gems from all kinds of different places (the goldheart mountaintop queen directory), gems of different colors (sunset gems like esther's day), magical gems (dodododo kicker of elves!), gems that ...fuk way hard (smothered in hugs) and basically???? just the gemmiest of gems.. Don't be afraid.... demons are real but they even have a few gems too. I swear to you this album is just filled with gems!! sometimes you need a good gem or two to get your ass back in gear and well what do you know gbv is here just for that. Also, I Am A Scientist in the study of gems so if you wanna start bitching @ this one i'll pull out the degree and yeah what are you gonna do then?? that's what i thought bitch. So basically if you like music or can chill with a wag dude named mryrtmrnfoxxxy you'll get ...fuk'd by this. actually it's kind of a necessity lol why havent you heard this???? "Ohhh, to speak on one's feet. To beat on one's brain, the popular mechanics are at it again!" ___ "Badada DA DA DA DA DAdadada DA DA DA DA" ...fukkk FOURTH GRADE elementary teachers can make some GREAT songs || song/album: || mood/vibe: GET ALIEN LANES AND UNDER THE BUSHES UNDER THE STARS TOO THE GEMS NEVER STOP THE GEMS KEEP COMING
52Les Rallizes Denudes
'77 Live

I've always dreamed of just walking into a late night bar/club out of curiosity in a foreign country and listening to what the community's sounds are up to. Living in America, you don't get to hear the true "underground" passion of a band's emergence - the honesty of a band's prime sound before hitting the internet and gaining acclaim. Les Rallizes Denudes's opening of Enter the Mirror is going to be the only song mentioned here, and it's not because they don't deserve the attention bur rather due to how defining in sound it is. The moment I clicked play on '77 Live I knew what I had yearned for after first receiving the "foreign country/bar" thought had been realized in this album. The glistens of those opening guitars, repetition of a brilliantly hypnotic bass line - the fragilty of the singer's voice, and of course... the noise. Instantly I was transported to a dimly lit seating booth in front of a stage with shadows being casted around the room/glowing red neon lights' glow catching the whisp of a ciggarette's smoke - sorrounded by rugged and inviting faces. Subdued/captivated by every second of the song, swept away by nearly every crash of a cymbal or assault from a guitar/note plucked. First listen was unlike anything I had ever imagined, incredibly special. Passion. || song/album: || mood/vibe: God, alright I'm gonna name one ...fuk though like a MAJOR one outside of Enter the Mirror. I can't do '77 Live like that. Second track, last minute. 11:14 starts to creep in. CRRRRRR URRR CCRR URRRR ohhh my GODDDD 11:31 and on!!?!? get wrekt, kidz gg no re 11:49 to the finish you are DONE son LMFAO and how the third track starts up omg these dudes were SICK ...fuk!!!
51Animal Collective
Strawberry Jam

YESSSSSSSSSSSSSSSSSSSSS favorite album to play in a social setting - first animal collective album i heard, hasn't lost it's appeal since. sounds SOOO good on speakers like they say merriweather post pavilion was supposed to be played outside which i can get - but this one's got that enclosed space/jam out in your car thing down to a tee. peacebone's lyrics rule, if you put this album on it's a guarantee i'll be singing the whole time idc who's there idc what setting idc the time either - animal collective's on and if you're not cool with singing then peace bro CAUSE IM SINGING - - don't have an obsession with THE past __ "it's not WORDS that you should follow it's your INSIIIIDES" yAKAAA yAKKAAA yaKKAAAAAAAAA AAAAA yakaaa yakkaa ...fuk!!! unsolved mysteries' symbal crash at 1:19 along with avey's pitch YESSSS the vocals on this thing are INSANE like probably best vocal album ever at least first half 1:48 sounds sooo good to sing ...fuk that arch man and panda/geo are on point the whole time nice nice nice love the endings jumbled kinda exit too how it all squashes up and rises then cyber boings BOINGGGG to "AYYYYYYYYYYYYYYYYYYYYYYYYYY baaayaaaabaaaa " ohh MAN this is where the album REALLY starts to pick up what's that sample way in the back?? i LOVE that - the speed of it all is so danceable too ...fuk break into that "AYBAYABAYBA" loop until you hit 1:11 where it gets too fun with vocals 1:27's percussion is sweet duh and here it comes.... THE ...fuk that settling all around 2:01 and stuff no one's watching, vocals way low repeating behind geo's awesome effects -- then vocals SOAR into like almost a joyous cry, panda's beat pounds - stamping it all into place/a huge ...fuk at 2:47 like possibly the defining ...fuk of the album PLUS geo's fireworks blasting off from under you, LIFT OFFFFFFFFF ...fuKKKKK ohhh WOOOO reverend GREEN time now niggies singing along to the SHOUTING SCREAMS to "II- I-I-I--II---III--II!!!!!! think it's alright" is WAYYY too fun and the whole build-up near the intro geologist does - that effortless switch at :40 that unfolds into the back/forth texture of a new melody is awww panda crashes a cymbal for avey to jump in and here we GOOO the track's built from scratch bros animal collective is on their way track is so slippery i love singing it, like the diction sounds so forced you're gasping for breath one second then just chilling the next... i think there's like rainsticks throughout this track too, would love to know what they used on each song cause the sounds are incredible but ehh i guess it's also cool trying to figure it out - reverend green's coda leading into fireworks is UGHHHHHHHHH lmaoooo omfgggggg this is like one of those HOLLOW super awesome wind/sound tube toys i used to get as a kid and hear the little circle thing go up and down making that BLEEEEOOOOP bloooooooOOOOOOOP but maxed out wayyy more effectively, whatever geo's doing here IS the definition of happiness stretching you wayyyy out WOW what a track avey's vocals and lyrics are too real, panda's click-click clack to cymbal crash - i could sit here and write about fireworks for days but i mean you can just there and LISTEN to it, i hope you feel it man that break into those spirited wind chimes then "Man it PAASSSSSSESSSSS right BYEEEE MEEEEEE" ...fuking feel that, panda's cute singing to the oddly tuned piano lol idk the buffer moments at like 6:15 sound awesome love how it winds down, feels like you're admiring how cool mirages actually are. Man, I love Animal Collective. #1, Winder Wonder Land, and Cuckoo Cuckoo are all cool yeah but the first half of strawberry jam matches the album title without a doubt - #1 and Winter Wonder Land's intro and chorus are fun to sing to but idk i don't feel a ...fuk there they're more of just a sonic exploration/experimentation on what kinda environments they can produce out of what they're going after. Cuckoo Cuckoo's dynamics RULE so shaky and wild.. i feel like im watching a tidal wave crash over and over again into a rock or im standing in an ocean and being aggressively carried away by waves with no control over my own body, love the way that piano and the vocals come in too near the beginning panda's doing A LOT of crashing on here lmao and we even get some essplode-y erratic drumming on this track too which is never a bad thing - oh btw CHECK OUT THEIR GARGOYLE set the splice/remix of Essplode and Fireworks is EASILY one of their best live performances, here you go: __ peep Panda jumping on those drums and just lighting that wick UPPPPP at 52:14 YESSSS this performance seems so natural, it comes from such a good place "Now each DAYYYYYYYY I've been TRYINGGGGGG" man lmao i can't believe im back into talking about Fireworks again but lol it deserves it, an eternal jam all feeling when essplode comes in and you hear that zipping synth!!! ! ! i freaked out and jumped off of my bed lmao from a video alone not even kidding i get past mad hyped out of animal collective i live this shit ...... 57:09 ............fuk just hearing these two songs mesh together like that, geologist i love you - panda keep raising elevation with your kit man you know what's up oh MANNN this is LIKE the BEST live moment i think i've ever put to TAPE Avey's SO into it EVERYONE IS you FEEL IT this is WAYYY too much .... it has this stripped/lightness that's not found in the studio so authentic and because of that it hits way harder, almost like it's improvised i mean yeah slightly but ?? ?? ? panda's steady stomps at 1:00:48 and the switch up... yep.... this is it... this is just it..... wow they did it - contemplating whether i would have been in dead awe if i were there or completely freaking out, just listen to that crowd's silence around the end as Firework's portion tampers out in radiance, the way avey finishes with just "feels" ... blissssssss.. that was unreal ... no words alright into Brother Sport which is so lively and frantic, i love that track but we're not gonna talk about merriweather here cause that's like my 2nd least fav animal collective but yeah listen to it for sure it rules it's also everyone's fav i don't get it but hey im glad they're listening to animal collective regardless LOL Derek's wishy washy theme is cool with that synth glow jumping around to the vocals but that BREAK at 1:29 reminds me of a college/high school drumline ...fuk so sweet and quick right into a fun little jam til the end, great way to end the album. WOOOOOO animal collective animal collective animal collective you gotta be UP to jam/feel this properly you cant be like ughhh today sucks everything's so boring im gonna do the same thing i did yesterday.. nah you gotta want to get up and BECOME ANIMAL COLLECTIVE || song/album: || mood/vibe: ?It sounds kind of like strawberry jam; certain sounds we did are very sharp and abrasive, but there?s a sweet side to it.? wow (: : : man im pissed i gave my half first half of strawberry jam half first half of muzai moratorium CD to that one chick but whatever just kidding it's for a good cause hopefully she puts it to good USE
Too Hot to Handle

B-w-w-W-w-W-WAOOOWWWWWWWWW!! *Beginning of Too Hot To Handle starts* Watch out, funk's about - Heatwave just made it's entrance into the ...fuk 2 list, y'all. I've never seen a live performance as energetic and groovy IN MY LIFE. And you're about to view this jam first hand!!! This ...fuk is a special video edition - COPY AND PASTE this: - - - l - - - LINK RIGHT NOW and prepare to fly out of your seat from the epitome of soul dashing across your screen. ____!!!!!!! HEATWAVE !!!!!!!!_____ Alright, you clicked it right? Flew out of your seat? Lmao did you catch that dude flinging his mic around? Idk for some reason they can't seem to spell, "Too Hot To Handle" wow no wonder their album art didn't appear but uhh DUDE are you feeling this yet??? THAT SMOOOOTH switch at :48 huh?? Ooooohhhhh EEEEEE ...fuk. Too Hot! Too Hot! Check out these dudes grooving, shirts off - sweat and all, this is GREAT!!! lmao im not gay i swear. That keyboard off the break in the chorus is jamminnnnnn that leap at 2:22??? NICE!!! Alright, yeah we can't lose pace here keep up - we're not even close to done here. 2:58 is when it starts to get real, vibe out to that bass groove "I don't know about this microphone.. I better be careful.. better be careful" lol and what the ...FUK is that guy doing at 3:13??? LMAOOO that's like me I'm all about this shit you're viewing right here mannnnnnnnn this is like way too good. 3:31 ALL smiles, yesssss. Too alive, too hot to handle ...fuk. Uh ohhhh Uh ohhhhh we're picking up MORE speed!! UHHH OHHHHH?????? These RIFFS????? 4:22 THAT NIGGA JUST SMOOTH JUMPED OFF THE STAGE!!! LMAO!!! Alright, bring it back bring it back... chill for a sec... ...fuk. Nah, jump RIGHT back into it at 4:38. This time piggy backing on top of a dude's shoulder!!! Wtff??? Is that like an organ at 5:10??? NICE AGAIN. Alright, jamming on top of each other's heads now just a normal day in the life of HeatWave apparently. Time for the meet and greet session. Jam out, jam out. Ride this groove faster and faster, y'all. Looks like the song's through, but we're not finished yet. Singers do cartwheels off the stage as the organ player brings back the initial melody. Tooooooooo HOT!!! ...FUKKKK!! SOMMERSAULTS, 360 SPINS, CREDIT ROLL BESIDE THAT BRIGHT LIGHT THAT'S TOO HOT, HEAT WAVE FADING OUT LIKE A MIRAGE ON BACK OF SHIRT. "Thank you." *handclaps and laughter* ...fuk. || song/album: ummm hello this is special edition hi can you read - || mood/vibe: B-w-w-W-w-W- WAOOOWWWWWWWWW!! - - - LIVE!
49Joao Gilberto
Joao Gilberto

Right when you click play, you'll know. Ugh, it's tracks like Aguas de Marco that just make me want to travel, meet, and interact/laugh with MORE people everywhere - such a great song, so so so good. I mean I don't even know what this dude is saying but I KNOW it's good kind of good. Was very unfamiliar with Bossa Nova music, had only heard of the genre here and there/i think there was a melody on majora's mask but yeah this dude definitely opened some doors and it was much needed - has a yellow-y and relaxed mood but keeps the ball rolling with it's bouncy/foreign vibe. Intimate as well, like he's in the room with you just strumming away effortlessly. Bottom line, FANTASTIC music. Holds your attention the entire way throughout despite it not getting too crazy. Not necessarily "easy listening" - but it's very easy to just pick up and adore off the bat if it's you're a chill dude or this is your kind of thing. Every. Song. Kills. Man, I could sit here and just write out ...fuks till Joao's groovy jams lull me to sleep like a lil' baby awwww :" ) Like the way those lower notes are strummed/highlighted on Undiu around 2:04??? That's the kind of night night notes lil' baby ethy would have loved to nap to ...fuk || song/album: || mood/vibe: tranquil, tropic, sunny, intimate, cheery, there's this amazing girl im talking to that's from brazil and idk i knew about this before her cuz i listened to everything in 4th grade but im starting to realize how awesome brazil is cuz of how cute/nyaaa/amaze she is (joppa road/neko mimi mode on repeat forever) and i mean PROB the rest of the world too but we'll see in due time
48The Brave Little Abacus
Just Got Back from the Discomfort

AWWWWW The Brave Little Abacus :') this is a ...fuk minefield so prepare yourself for the i love this band, the lead singer is a cool guy for sure i added him on facebook hmm what else oh yeah this live vid is one of the most intimate/massive recordings on youtube i've found!! some dude said he feels like he has a personal connection with the members after watching it yeah i agree plus i couldnt stop jumping out of my seat while watching so !!!! anyways i was a fan of cap'n jazz for a good while i thought their style was my kinda vibe i even wrote a mini-review and stuff cause of the love. im not saying the brave little abacus is better or anything (they're both super cool) but if im in more of a progressive/experimental/crazy mood this is where i go. pile! no pile! pile! starts things up with a bzzzZZZZoink and the intro at :11 when his voice comes in ...fukk, man.. this band's got some real talent here - every musician packs the heat, so much fun. prob the strongest section of pile! no pile! pile! are the vocals starting at 1:56 lol at first you're like hooooooly SHITTTTTT shut the fuck uuuuuuuuupppp mimicing his voice in the pattern of which he sings but then he JUST KEEPS on GOING carrying the song with that wimpy/nasal-y voice like NO tomorrow. first impression feels frail but you start to realize it's one of the boldest and personal moments of the whole album - 2:37 to 2:55 rolls around and you know this guy's the real deal. how LONG he holds notes for lmao and this range is kinda unbelievable. feels like he's going to just give out and collapse on stage right there but he keeps pushing like a champ.. then the whole, "WANNTTT" ... "TOOOO" ... "RELY" .... "ON"... "???" ....."AGAINNNNNNN" ..... "I'MMMMM" ..."NOTTTT" ... "YOUUU" ... "???" ....fukkkk FEEL that and if you can't i bet the instrumentals will get you. horns at 4:14 and on are pretty rad and the coda/piano/synth jam next to his, "WAYYYY befoooore NOWWWWWWW". bust into the next song which sounds like some arcade room fiesta - amplification at :55 is ...fukkk wooo this was a fun find when skeames showed me this i knew this erratic/magic band would be with me for a good while ESPECIALLY at the pulling back to a skid and drifting into 1:37 ...fukkkk, those GUITAR sleeky/liquid strums omg and that synth wayyyy back there humming - you hear it?? then of course the chimes and his VOICE ughh this is a good one. 2:22 "i CANNN'T REMEMBERRR" ...fukk mann this is a good one, those chimes at 3:01?!?!? then the horns at 3:28 next to his voice and the same chimes?!? .......fukkkk uh oh i think a pick up is coming!?? i feel a pick up coming??? OMG A PICK UP IS COMINGGGGG 3:57 dun dun dun dun dun dun whoaaaaaaa "as if i were asleeeep" ... "AS IF I WERE ASLE-E-EEP!!!" drumsss LEAD to that 4:12 crash yessss. boy's theme is a groovy window open starry night laying on bed/laid back radio on kind of jam nice accordion :") i like track 4 but ehh the ...fuk isn't too strong except for that snap at :37 into super-nintendo woolalaalala and the horns at 1:21 and 1:30 are coOOL but idk HMM NEXT SONG awww YEHHH THE BLAH BLAH BLAH okay this one is good :06 bOINK boiINK boINK omg those KEYS wtf?!?!? :19 NICE SWITCH omg this is CRAZY LOOL why are they just like ok yeah ...fuk ok yeah...fuk nah lets do this ...fuk ok yeah nah lets do this ...fuk all the time!?!? HOLY SHIT i can't even keep up typing on this track while listening LMAO and i can type roughly 114 WPM!?!??! backup vocals :29 and everything ahh so sporadic fun fun this ALBUM blew my MIND this album made me so happy it's so fast :37's guitar lead into a halted "SHORT" at :39 and CHECK OUT THIS DRUMMER?!?!?!? LMAOOO whaaaat :41?!?!? ...fukkkk DO YOU HEAR THAT GALAXY SYNTH at :57!?? magic magic magic those horns again 1:04 !!!! this is too much ...FUKKKK 1:38 back to BOINK BOINK boINK's from earlier ok yeah i am deffffinitely jamming this is .......... 2:05 HORN SECTION DOUBLE HORNS NOW!?!?!? then exhaustion at 2:37 as you just lay down and sm0k while thinking ok yeah, that song is probably one of the most entertaining things i've ever heard in under three mins of all time ever. now it's time for one of the hardest ...fuks through a bass to reveal itself on can't run away - THIS IS seriously what ...fuks are made of im not even lying right now so listen up if you wanna ...fuk. so we're gonna start with some shaking and aww this is pleasant im going for a walk on a sunny/fresh day vibe in my neighborhood - a bass comes in at :13 just rocking back and forth doing some cool licks at :20 behind guitar with cool effects prob one of the coolest vocalists ever steps up the mic and starts doing his thing and we're just xXxCH1LLINxXx before hitting :53 ommmmmmgggg that BASS wtf is going on here this is gonna get REAL good here i can tell they're just giving a teaster until 1:30!!!! this synchronization with the speed of these VOCALS/CHIMES omg this is :' ) im groovin im groovin ooooh what's this 2:44 "whenn iii saayy IM SADDD i MEAAANNNN ITTT" .... "there IS NOOO EXCUSE I NEED THISS" bass going back to the intro/kinda slowed down vibe that we were initially greeted with uh oh i feel a PICK UP COMING with these INCREDIBLE vocals spilling out everything 3:29 feel that dudes omg that distant hum and this tick tick tick tick next to the bass line creeping up a bit faster 3:47's yell, "ITTTTT MAA--AAAA-AAAAAAA--AAA (???)" ....FUKKK "buttt i don'tttt wannnnnnttt TO" into cricket orchestration in a field as you try to sleep vibes__ UNTITLED (CONT.) goood song 1:48's whimper/wail is cool along with that piano raining down around like 2:02 okay but the REAL ...fuk is the DRUMMER and i gotta give him the spotlight here because he's been going crazy amazing this whole time with barely any mention check this transition/rhythm at 3:11 omg 3:21-25 and that 3:28/3:31 rolls omg this is so good he's reloading uh oh cocking the drum-gun at 3:37 right into Aubade's first second/b0000m get wrekt gg no re bitch ...fukkkkk aubade is just a replenisher but that riff at 1:45 oooo slickkkk lots of ...fuk behind that one. it's not what you think it is has some great drumming as always as always you're feeling this shit riding it out, this half of the album is a lott more loose compared to the first and the lead singer sounds as if he's basically talking to himself in an empty room for like 6 straight minutes. allston brings that whispy fog-air next to a pier/dock // bug infested floorboards rules oh there he goes talking to himself again and now we have a nice malcolm in the middle sample before heading into a jumbled riff and those drums lead into a "I THINKKKK I'LL LEAAAAVE THIS PLACEEEE NOWWWWW" which is prob the climax of this album and idk it's not the BEST ...fuk but you can still ...fuks with it acoustic/bluegrass-y country jam at the end is rad though along with the malcolm in the middle sample, "you hate everyone! to you, everyone's either a moron, or a creeeeep or a poser.. why do you suddenly care about their opinion??" ___ "Because im shallow okay?? i want them to like me.." and the way his vocals come in from left field and start imitating the accordion, as screams trail behind - especially that extra push at 4:32 NICE...fuk okay orange, blue with stripes something about EMILYYYYYYYYYYYY idk it's cool but whatever...well at some point it STOPS. || song/album: (all for free, here!: || mood/vibe: POKOPDSPOFKaijsdfiojIOSJDF0a9d-0fi0-xcv-0ixcvpokpokaposdkfas-d0fi0 -oasdpfko btw i LOVE cap'n jazz check this out:
47Eric B and Rakim
Paid In Full

YOU'VE HEARD IT. Trust me, YOU'VE HEARD IT. So who we rolling with then? We rolling with rush. Check this out, since we talking over this deaf list right here that I've put together, I wanna hear some of those deaf ...fuks. And together? We can get PAID IN FULL... (full full full). THINKING OF A MASTER PLAN - - - Can't even begin to describe to you how hard I was bopping to this with my uncle/dad when I was little. ESSENTIAL. I can guarantee you've heard Paid In Full, as soon as you recognize that bass beat you'll be ...fuk'd. I ain't no joke, I used to let the mic sm0k ...fuk. Rakim spits fire for like fifty minutes straight. So many good lines asdofajsoijfadsf. Personally, I feel like Follow the Leader is actually better but this has PAID IN FULL sooo YEAHHH....... ughh that eastern vocal sample ...fuk dear god. Too much fun. PUMP UP THE VOLUME - PUMP UP THE VOLUME - - - . . . f u k || song/album: || mood/vibe: FISH, which is my favorite DISH
46Shiina Ringo
Kalk Samen Kuri no Hana

Album's massive, I don't know how to start here so let's just begin with Meisai which is STILL one of the sexiest songs I've ever heard. Check this out: _ Christian McAdoo8 months ago tooooo cooool. Ughhh that creeep, it's all in that creep... double-bass/guitar strums that cringe (check the dude in the back at :08) - light cymbal taps at :16, drum kit kinda hinting at a pickup until :30's gong ( BWONGGGGGG ) blasts everything into motion ...fuuukkk tapping that wood block with that mallet sends some ridged rhythms going too, lots of this feels mechanical and so strict until Shiina's voice graciously unfolds it all after that bass lead ....fukkkkk man, you are NEVER sitting still during this one - as if what she already had wasn't enough, nah pause at 1:07 and pick up the pace. Guessing that's a violin joining in and scraping everything up a bit too, wow nice. Once this song's running at the speed it wants you're pretty much just jamming from that point on - not gonna exclude the emphasis on that sick bass line at 2:31 accompanied by that soaring violin bringing in it's own chaos - yeah that part is a complete ...fuk LOL duh wtf 2:48 and on? SHE MURDERED THE TRACK, Shiina's one cold killa niggy I wouldn't mess. Slick guitar exiting it all into the lighting of that ciggy which is straight up one of the coolest scenes/moments of the whole release. She incorporates a lot of real world sound clips into this album to breathe more life into an already INCREDIBLE album, at times it feels like you're right there in the middle of whatever's going on. Shuukyou's a pretty heavy opener - everything feels dire and tense before heading off into some chill/cute and cinematic jam - blasts at 2:54 and stuff are cool i guess but what what really got me was how strange the radio samples circled around my head in the end and faded out. For a brief moment i thought it was gonna head in a ominous direction but idk Doppelgenger kicked up and everything was all bouncy and silly lmao idk it kinda seemed a bit over the top but i still dug it and remain to. Such strange switches all around Doppel though, wild song - tons of experimentation i loved not being able to tell what was going to happen the farther down i went, the twinkling out into Meisai was sickkk - especially Meisai's kick start up too which has already been mentioned so let's head into what may be my fav song on the album.. ODAIJI NI. Brilliant idea to put this one right after Meisai, keeps thing fresh - Ms. Shiina knows how to properly tracklist an album. Odaiji Ni is like.. the OG of all those passionate/deeply infatuated songs you've gone head over heels for, it takes nearly every "aww" aspect thought and blends it all into one affectionate mix. Soooo fervent like the track just SCREAMS passion, mannn ...fuk as if these adorable piano chords and Shiina's amorous voice wasn't enough we've got that entrance to that GUITAR line at 1:03 - whatever effects were used there were just absolutely asdiofjasdiojf ughh man I can't even begin to tell you - it's so muffled/blurred but SHARP SHARP SHARP like that's one specific moment in music where she was probably thinking to herself "i want this specific sound" and completely NAILED it. 1:56 again, this whole song just sounds so surreal, like it's coming from it's own place - barely any influences involved. Radio transmissions/feed in the mix makes it all seem a lot more full and distinct, the coolest part of this whole album for me is that despite it being in Japanese - I don't feel foreign or unfamiliar with anything that's going on. Effortless to just jump right into it all and peer into it's world, imagining what they're getting across by strictly relating to the music. Odaji Ni pins the whole "music as a universal language" concept down, listen to how gripping Shiina's yell at 2:28. Then the guitar travelling in again for it's culmination.. 2:42 ...fuk, the way it pitter-patters out too.. similar to an engine churning out it's last few rounds. Yatsutsuke Shigoto introduces some intermission/blurb from flickering TV stations, same as how you would see wacky cartoons jump into some random segment after something dramatic as a type of relief. Love the hair-salon whirring too, glad my mom never dragged me into those as a kid. Cinematic track, woooo horns and zipping left and right - n1ce n1ce n1ce okay hmm do i like the rest of these tracks here on Kalk? I sure do but ...fuk 2's purpose is to emphasis the masterful moments hmm I mean yeah Yatsutsuke Shigoto certainly is playful and rocks I get ...fuk'd but not as hard as Meisai and that track after. Actually, yeah after this track I'm kinda like yeah I love you Shiina but none of them amount to the ...fuks found in Meisai and Yatsutsuke Shigoto - Torikoshikurou and Okonomide get kinda close though so check this album out and see if i'm wrong or something oh yeah Ishiki -toot toot- ooh and that whole part at 1:52 oooohhh mannnnn BINDDINGALINLILININGINGINGING ...fuk. Anyways, I'm done here. See.. I was gonna start talking about Souretsu's ending as a ...fuk and tons of others when I want to let you experience it all for yourself. Tons of ...fuks 4 real tho on the real, pick it up for yourself. SUPERB ALBUM. || song/album: || mood/vibe: this is the official sputnik tea thread now. currently steeping a pot of bancha. my first japanese green tea (aside from matcha), only had chinese before. pretty basic stuff, perfect for playing video games and listening to mediocre 2013 electronic releases. it's ok though everyone has their own TASTE. a shop close to my uni has south korean green tea, definitely gonna get me some when uni starts next week. btw i took this thread because of the cover lol thought i mention it because not everyone might get it ^^ #treeqt #ilovetree #DEFENDTREE2014
45Flying Lotus

"Shi bum bum bum boo doo bap ba baaaa" ..... "Shi gun bum bum boo dum dum da daaaa" ..... "Te boop boop bop te de doo doo doo do boop si doop da de doop bop da de dooop a doop a doop bap" ....... "PSHHHHHHHHHHHHHHH" ......"Ooooohhhhhhhh" .....*strings play in back* ... "Ooooooohhhhhhhh"........"Be dooop a doop ee doop a ba doop a doop a doop bahhh" .... *it's gonna drop any sec now* ..... *it drops* .......... ...fuk. Do the Astral Plane. Do the Astral Plane. Do the Astral Plane. Do the Astral Plane. Got arcade game sounds going here like a pinball drop... alright now we got like one of those party rattler things. THIS IS DOPE!!! ... Wait... omg... "MuUAHAHAhahahahHAHAHhaahhahaA" ?? i ? ? l i k e ?? ? i t ? ? ?? Futuristic Galaga LOOooOOP Ft. Your Favorite Jazz Artist -- - - - - 3:32 ...FUKK!!! - - - - -- jammin jammin jammin jammin jammin - - - -- - 3:48 -- - - STOP - - - - jammin jammin jammin jammin - - - - - 3:57 - - - - STOP -- - ...fuk. Always playing this, Do the Astral Plane. Do The Astral Plane. Do The Astral Plane. || song/album: || mood/vibe: FLYLOOOOOOO -- -
44Etat Brut
Geometrie D'un Assassinat

Hell yea bitch dis go hard as hell etat brut i will suck big dick team slut all day and week month year and century i love big naps D I C K S Q U A D. Such yummy tones omg wtf i can't even begin to describe this isn't my strongest field nor is it my true kinda jam, just checked it out cuz the review was whoaaa, but man it didn't dissapoint in the slightest. ...fuking just peep those two simple tones on j. michaux with samples of some shit i can't understand + sounds of someone clicking the top of their mouth with their tongue or something hmm or Ples Du Cerveau plus Karol Simonbr /> wow im at loss for words cuz wtf???? the way the notes???? such a pulse!! could throw nearly anything into this track it would rock - man balls this's awesome. sometimes i wanna lay down and just let ETAT BRUT wash all over me after a long day and think of tons of ideas you catching my drift hold up idk what im saying anymore lol, lemme get my nigga GiaNXGX to handle this one: *you click the review and reach the final line ___ "Etat Brut are ****ing dead!!!!!!!!!!!" *encore* *girls scream* *gian's body resurrects from the grave* || song/album: || mood/vibe: aliens from signs the movie, kitschy, cage + one dimly lit light-bulb in a room with shit- stained walls, 8ties, oh no! they're coming, rugrats in paris, ~, foggy late night TRUCK'S high beams in UR face,, bmup GIAN CUM I CAL YOU [2]
Crooked Rain, Crooked Rain

There's this special kinda ...fuk behind Gold Soundz. From the start it channels this sunny "school just got let-out for the summer" vibe. No more deadlines or worrying, just laid-back free time to do absolutely whatever you want with. It starts up so quickly too, Malkmus' voice seems kinda uncertain at first.. how it teeters back and forth then ever so often lets out a few high-pitched cracks. The guitars lay behind him though, ready to push him back into place if he leans too far out. Every sound is in complete motion, both Malkmus and the instruments grow in confidence as the song progresses. It all hits an acceleration point around :26, the cymbals crash - drums pick up/change in rhyhtm and guitar brings in a faithful melody, Malkmus' voice growing in due to being sorrounded by all of it. Repeated again at 1:02 - this time he's gained complete control over whatever he's apparently trying to get through. The song (to me) serves as an uplifting mechanism for Malkmus' struggle at that point in his life. When it all winds down around the middle and has that deep warmth within all of it, you're just so certain that it's going to bust through the gate from this transition in celebration. AND IT DOES. That jump in 1:29??? ...fuk. Entire joy-ride from that point on. "So drunk in the August sun, and you're the kind of girl I like - because you're empty, and I'm empty."...fuk. This isn't even the type of self-pity bullshit where you wallow in your own grief... not at all. The way he narrates his thoughts so effortlessly in this song, how relatable and honest they feel to the listener - that's where the ...fuk's all at. He's coming to terms with a long-term struggle here, he's finally moving forward and he knows it. The song itself knows too, they're both in such a tight joint.. rushing through it all - complementing each other to the finalt halt. How that bass dips in the opposite direction of the pitch of his voice near, "You can never quarantine the past" // the aforementioned - and finally how it just charges everything to such a condensed blissful certainty when he gets way into it and yells "And if I go there, I won't stay there, because I'm sitting here too long. I've been -SITTING- here too loooooong" ...FUK, what a song. Like, their whole DISCOGRAPHY is stuffed with Gold Soundz. I wanted to highlight that song particularly, but let's jump around to a few more ...fuks here in retrospect cause I can't leave Pavement with just one. Filmore Jive is easily one of the strongest closers I've heard to an album prolly ever, when Malkmus gets carried away to those guitars strictly driven by emotion and starts humming/singing who knows what you get this all kinds of magical ...fuk. The intro to Crooked Rain is also soooo sick like every time i just hear the tone of that guitar i'm ...fuk'd and im not even the type of guy who usually gets worked up over that kind of thing - i love the end, it always reminds me of that one song at the end of Happy Gilmore that I used to be obsessed with as a kid. Then you've got tracks like Hit the Plane Down where they start barking/shouting like a bunch of banshees near the end (HELLO 90s ANIMAL COLLECTIVE INFLUENCE). ____fun fact: animal collective loved this band as kids//created a kinda mock-up heavily influenced pavement-esque band named automine with nearly everyone in it (except panda) while growing up... they're pretttyyyy goood____ Jump into Slanted and Enchanted and we've got just loads of crazy fun noise-melodies and awesome laughter at the lyrics of "dropped off" in summer babe then, "TORTUUUUUUUUUUUUUUUUUUUUUUUUUREEEEEEEEEEEEEE" ...fuk PICK ANY OF THEIR ALBUMS and you'll always find some addicting stuff. They never fell off or sold out, their final song "Carrot Rope" is like the epitome of their entire career and i mean that in the best way possible. it's not their strongest or anything, but it's just so so so good and catch. This band just gives and gives and gives, it's always a joy to pull out pavement and just get on better terms with them. Never boring, always fun - great band. What a run ...fuk || song/album: || mood/vibe: Wowee Zowee!
42Lil Ugly Mane

"Breeze Em' Out" The song that defines the release MISTA THUG ISOLATION. The beat is straight murder ....fuk. Will never forget the first time I heard this, knew he would blow up from the first sample reminiscent of an 80s weather station or something swagga like that. I mean when you've got lines like, "Luccini falling from the clouds and the rain is torrential. All black leather in the whip is essential." Nothing else really needs to be said. ....or maybe I'm lazy and I just don't wanna write this whole one out??? The world may never know... Btw I didn't even talk about Uneven Compromise on here lol wtf oh well check that one out it's way better actually and it has an awesome story/flow!!! COOOOOL || song/album: || mood/emotions: soft, secret-level, breez

"I know, I cannot leave this place - without memories. Things like the way they knew us all over town...." ba dum DUM DUM dum dm dmmm, BZZZTTTT- BLLSHSHSHSH "We used to walk the-" BZZTTTSPSHHSHSH "Stre--E -" zzBLPPSSHHSHSHS "ToGETH-" BZHHHZHhhzHZHHh ....fuuukkkk. Probably the most apparent ...fuk on Beefcake's Drei. Whole album is full of them though. More than likely one of my favorite electronic releases, as the review states just feels like a journey that must be completed. Untitled 3's weaving at :24 accompanied by that piano/sax/dub. 1:46 ...fuuukkkk. 2:01 even harder. This is going to be a real difficult ...fuk to entry because I'll definitely have to go through the whole album - due to the tracklisting. Beefcake's Drei never loses motion, there's never a silent moment - you can't tell when a track has ended or begun (except the first and last) due to the fact that they're all running into each other. It's a real interesting concept and kinda aided my appreciation for the album. You can't memorize songs as easily as you would be able to with any other album, there's no name to anything - and because of that.. backtracking onto what stands out doesn't feel as natural as just starting this release from the beginning and waiting until it all starts to shine. :34 of track 5 that starts up the clink/clacks all the way to :58 where it becomes much more chaotic/that entire section of metallic and clangy drums - percussion hits just right ...fuk. Stumbles around 1:44 of Untitled 6 like a closing/opening door then a deep ambient moment before sparkling off and then right back into the beat. :45 section of Untitled 7 brings some incredible chimed ambience before running into Untitled 8's rocket lift-off. Man, I don't feel as though I'm doing a good job describing this one lol. But the album has had such an impact on my appreciation of electronic music that I feel as though it has to be included here. Untitled 12's beat is ...fukk. Breaths taken behind deep beat on 13 are sweet/especially with those strings. Untitled 17 is my favorite moment on the entire thing starting from :12 with those strings but specifically at 1:01 and 1:04 - with those horns ...fuk. I wish I could do a better job at describing Beefcake's Drei but I feel as though it's one of the most difficult things to pin down and describe. A lot of the wonder/amazement from this release comes from how detailed and effortlessly everything flows together - or how a sudden switch will foreshadow a real defining moment. The micro ambient moments are always pulling me farther into the album's life - like how awed I am by the brief moment in Untitled 18's switch, how lightly it flows into the rhythm following and how the zips and dub/ticking rhyhtm make the melody that seems as if it's going to completely vanish at any moment on Untitled 19 last just a bit longer. There's moments like that scattered throughout Drei everywhere, I just don't possess a vocabulary bank large enough to describe properly them without becoming redundant through timestamping and stating ...fuk over and over again. I guess this specific release is better for the listener to interpret on it's own. Maybe that was their intention when throwing these blank titles onto their tracks, a lot less conversation on what's being presented - allowing the listener to stumble upon everything on his own? Probably digging too deep into it, I don't know. Regardless.. this is a fantastic release. Untitled 25, ...fuk. Untitled 26's last thirty seconds, the strings'/beats' last pairing before the lifelessness of the album gains soul and drops the clanking rhythm altogether - setting itself free. Strings soar into Untitled 27 and it feels as if the listener has crawled out of some cave to see a shining blue-sky again, thankful to breathe fresh air and see life again. I've been trying to find what that track is specifically sampled from, if anyone knows - please shoot me a message/comment below. Wow. || song/album: || mood/vibe: BaselineOOO\Reocmmned Me Pretnetiuos Sith I want albums that pwn so fucking hard and generic music listeners will never understand!!! like stuff that Havey, GiaNXGX, Riff, YankeeDudel and Graveyard love.
40The Police

We all have an album that pushes us into new boundaries/something that for some reason or another catches our ears off guard and presents all kinds of creative ideas. I'm not sure when I first heard Synchronicity, it feels as though I've known it for nearly all my life really... My Dad was heavily into jazz/seal(shoutout to get it together)/sting (englishman in new york)/simply red (lol)/the smiths (this charming man) and THE POLICE when i was younger. Loved sitting down and listening to music w/ him whenever he was working on stuff or just relaxing in our backyard in Canada. Everywhere I went Synchronicity was playing. EVERYWHERE. Pretty much anytime there was a speaker available.. family birthday parties, Easter, car trips to iHop, etc. I specifically remember hearing Every Breath You Take from my family's car speakers late at night on our trip from Canada to Texas (permanently) back when I was like six and it creating (what I thought of) as like a bubble effect around my body. I was stuck inside some deep bass groove until the song was over, how sleek and soothing the whole song was. Falling asleep to that song that night and then waking up in Texas the next day was so exciting. Everytime I choose to spin this album it feels so new and fresh despite the amount of times I've played it. Synchronicity I's start up the amount of energy it possessed, "SYNCHRONICITY! - SYNCHRONICITY!" ...fuk. Walking In Your Footsteps's cool little pre-historic/dinosaur vibe (as a child I thought it was so cool how the sounds created a type of environment/mood outside of what was normally presented). O My God's late dance night groove, ...fuk that synth that jets across the intro/entire song is like watching starts shoot across a night sky. Getting crazy hyped off of the pick-up section at 2:42 "Fill it UPPPPPP, FILL IT UPPPPPPP" with horns jamming out along it before heading into like a free/jazz kinda brooding improv section that shot around like a bullet against an enclosed space - those DRUMS on that section around 3:40, Stewart Copeland has ALWAYS been one of my favorite drummers when it comes to a new rhythm/mixing up a song's progression. Then that rough/deep spurted blow of the sax that carries over to some snazzy and refined state of ecstasy before closing off the song. MOTHER. Contendor for my favorite song on the release (although I feel as though that would be kinda dishonest lol) but I mean this SONG as a kid, man. I had such a funny relationship with it, like that Arabian/hypnotic insanity mood - it felt like it was gonna snap at any moment and I "wanted" to skip it whenever it came on cause of how much it scared me but there was something within me that couldn't because of how interesting it was. After a ton of repeated listens and gaining a better understandment of what the song presented I LOVED it to death. It was SOOO funny, I would make jokes with my Uncle about it whenever I knew my family wanted me to go home after staying away from too long. I didn't want to because I loved hanging out with cousins/having fun at his place but school got in the way and I knew my mom was about to call at any given moment for me to return, "OHHhhHH the TELEPHONE is RINGINGggg -- _ IS SssiSSsTHAT my MOTHERerr ON the PHONEEee??~!?!/1" - - "OhhhH mOTHER plz LISTen and DON'T devour Meee - OHHH MOTHERRRRRRR__ MUTHERRRR". Of course now I know that he was relating an overbearing girlfriend/relationship calling him nearly every second driving him insane due to the lack of privacy/solidarity but back then that song just was too much fun to imitate/sing along to because of how I wasn't frowned upon w/ getting a bit too weird or letting myself go along with it. Miss Gradenko has always been my least fav track due to no real "moment" but it serves a good two minute intermission of something a bit more collected before introducing Synchronicity II (the staple song on this album). Synchronicity II is like... just... ...fuk. I can't tell you how much it means to me. It's not my favorite song on the album, but I've heard it SO many times and it's never let up or worn off. I always think of like something HUGE about to happen, lights shining on a stadium holding two opponents ready to fight for a win. One of the most victorious songs I've ever heard, the yelling of "Ahhh ahhhh AHHH uhhh" before breaking into dun DUN dun from the guitar's riffs and the song taking off. Copeland's cymbal crashes/rattling technique here are SO on point on switches, he gives the song such a driving force - Sting's vocals carrying conviction and confidence "tiny m.e.t.a.l. BOXESSS" - "IT'S A HUMILIATING KICK IN THE CROTCH" .... "many miles away, something crawls to the surface " - - 2:45's slick kinda exit out of the song's main vibe giving it a real metallic/robotic feel - then those guitars that start echoing in from a distance at 2:55 ...fuk before jumping into the DUN dun NUN dun riff (cymbal crash). Copeland is on FIRE here, aoisdjfaosjdf .. such a classic experimental/alternative 80s song. "Scottish LAAAAAAAAAAAAAAAAAAAAAAAAAAAAKE!!!" ____ "many miles AWAYYYYYYYYYYYYYYY - many miles AWAYYYYYYYY" *crash crash crash* *guitar noodle/solo within mix* ........fukkkk. Every Breath You Take duh super hit like if you don't feel this then lmao idk what's wrong with you or maybe you're just not corny enough who knows but im behind it all the way and i've already talked about it's ...fuk on me each time it hits a closed room/confined area - love hearing it encompass or fill up a room so im not gonna go back into it but WOW King of Pain was my favorite as a kid, hiding under the covers late at night and telling myself repeatedly that music is the best thing to ever happen to my life and i wouldn't ever stop trying to understand it/become a musican once i felt as though i was ready to. Man, thinking back.. that song drew me into crazy/funny states of mind as a kid like the imagery that the song presented - i thought it was all so bleakly gorgeous. "There's a king on a throne - with his eyes torn out. There's a blind man looking for a shadow's doubt. There's a rich man sleeping on a golden bed. There's a skeleton choking on a crust of bread." All those negative sights depicted through my mind - like how they were kind of an oxymoron, i thought of all of it and became a lot more aware of what people's understanding of "pain" was and had some strange sense of gratitude on my possession in life. But professing that you're the king of all it - like imagining that there could be an entity that was THE king of pain lol it was funny but it hit hard within my head beause i started realizing the mood didn't go along too well with the music. Only reason I thought it was beautiful was because of the wandering/curious nature of the song and then how magnificent and proud it oddly was. Like, despite all of these terrible scenarios - this dude's still somehow happy?? that was a cool thought to dig into. The way that synth just wimpers out and dies at 3:46 lol, but how the guitars/keys build it all up into a celebration at 3:59 "King of Pain. King of Pain. King of Pain. I'll ALWAYS be, King of Pain!" ...fuuukkkk. Wrapped Around Your Finger... wow. Always picture like a deep study session or the images the album art for Synchronicity presents. Lust, romanticism/marriage - the floating atmosphere of the song, Sting's prounciation of the words as well.. it's has a ebbing/flowing motion to them. My favorite ...fuk on this entire album lies in this song, and it's funny because stuff like this NEVER grabs me much but here it's just done sooooo smoothly/fits just right. The transition/drop that begins at 3:09 out of NOWHERE, "Devil and the deep blue sea behind meeeee" wowwwwww feeel that groove/bump between the notes there - how quickly the entire mood and atmosphere of the song modifies itself. "Vanish in the air, you'll never find me" a deeeep bass line and that *snap* of Copeland's drums kicking things OFF into a gushing flow of sensuality ...fuuuukkkk. Lol, this is gonna sound abrupt and kind of out of place but Tea In the Sahara and Murder By Numbers don't supply nearly any ...fuks for me despite how great the songs are and the atmosphere they they build. This release means the world to me, it's my family's album. I can play it at any time and someone will recognize a rhythm or lyric, it's never worn off of me and I plan on carrying it along with me for the rest of my life. || song/album: || mood/vibe: "With one breath, with one flow. You will know; Synchronicity."
39Sunshine Has Blown
Sunshine Has Blown

Well I Am Fucked Up On Drugs Trying To Dissociate From My Life Again Some Time I Like To Watch Donnie Darko And Hurt My Self Just So I Can Feel Real But The Feeling Only Last Until The My Dad Come Pounding Into My Room Telling Me That I Am Doing Nothing With My Life And I Say Dad You Don't Even Know My Life I Am Famous On The Intern Net And You Just Smoke Cigarettes And Drink Diet Mountain Dew All Day And You Still Talk To Your Mom On The Phone Every Day. || song/album: | mood/vibe: ~lush flourishes~, MisterTornado09.01.13 [Report this Post] this isn't just another hammy list where some atheist is pulling random experimental albums out their ass. THERE IS SINCERITY HERE. tragic.,
38David Thomas Broughton
The Complete Guide to Insufficiency

I love Winesburgohio's review for this. Kinda just steals the spotlight from close to anything I can say here, so "poignantly" written lol. Anyways, yeah.. hard ...fuk to approach after all that. Or maybe not. Cause this particular little release, "The Complete Guide to Insufficiency" it's all about poignancy, all about feeling - all about THIS list ...fuk 2, y'know? You could APPROACH the introduction to Ambiguity with skepticism, you could try to pick apart it's composition - bringing some sort of newfound knowledge/approach out of something that's obviously been done before "why is he sticking to this phrase for so long - why isn't this song STARTING, when are we moving forward here!??!" or you could accept it as it is; (Broughton's attempt at manifesting his state of mound to sound in a cathartic method) and "move forward" within both your enjoyment for this album and yourself. This album begs for calmness, peace and a willing mind/heart that's able to accept it. Ambiguity's first two minutes and thirteen seconds are more than likely some of the most introspective/contemplative moments I've ever heard within sound. It's all set up for preparation or development, like going through a heavy/rough night - feeling so drained, but full and better off because of it - gathering up all the energy possible to muster up words for what's about to be shared. And when you finally start talking, it all just effortlessly gushes out. Ambiguity contains the kind of patience that many musicians strive for, it begins when it's ready and it feels so much better and honest because of that. Repeating a phrase with various effects - splicing, restarting at :52 - slightly gaining speed, assurance that THIS song will push him past his troubles, having so much thought within your mind that they eventually -have- to be set loose, that's what Ambiguity's all about for me. And when he finally DOES speak at 2:13 you just feel that type of longing/hope within his heart that can't be replicated, sure - the method or approach of how he constructs his song has more than likely been done before, but HIS honesty within his words - his take on how to manifest it to an art - and how he copes through it surely hasn't. Completely unique and heartfelt, these are the reasons why it stands out to newfound listeners. "How muuuch looooove, can a boy contain in here? How many contradictions can a girl possess up there? These questions are too ambiguous, try to narrow down your search." that drop/switch at 3:11 just spills over into one of the most absolutely gorgeous ...fuks I've ever heard. Everything feels so completely direct and intact, honest - right in front of you to see - no hiding here, peer into David Thomas Broughton's position in life at the time and feel/relate to his affection. That same man who works customer services for Transport Of London, here he is - pitching out his soul for the world to see. The twangs of Unmarked Grave near the end - the train's bell making it's entrance with almost a psychedelic/soothing effect, are they the same Broughton has heard working at that very Transport? Intimacy is undeniable, feels as though he's specifically dropping hints here for us to detach ourselves from our reality - and unknowingly live his. I love sitting here and just reading the comments in the Complete Guide to Insuffeciency thread because they feel so relatable, like everyone in it understands what Broughton presented - it replicates what he was aiming for. How Philip and MisterTornado mention his new album and it not being as strong as this; "yup, it kinda sucks. needs to go back to walden for a while and cry another classic". sKE$AAAAAAMESSSSSSSSSS and I carrying a long-ass convo on my birthday, genuinely interested in how we were both doing (as I listened to this lol). Philip quoting our facebook convo lmao, so dumb.. and of COURSE ProfessorVeerappan's genius write-up on the release.. Feels like ages ago, but it was only like three months since I was writing all that. So much has changed looking back, but it all sits so wonderfully content in that thread - exactly how this release does after fermenting with time. The album's aged so well - I can't help but wonder how David Broughton is doing now? When he looks upon this release is his face still screwed up in delight from Ever Rotating Sky's ...fuk at :56? I bet so. || song/album: || mood/vibe: "*** is lush yo. Majestic and magical. Alright i'm done with the adjectives; just ***in' listen to it and reap the innumerable benefits."
37Robert Wyatt
Rock Bottom

March 14th, 2014. Dear, ...fuk 2. I've been writing you for over a month now. I haven't left my house in three weeks, I don't know if I'll live for another. I'm running out of water/doritos: baked! I can't recall the last time i felt the sun.......... i can't even recall the last time i saw an actual person. God bless flareguns for our 40+ page rym conversation, holy shit she rules so much. If it wasn't for her first two comments, "use this more you buttface" and "Gimme Them Fuckin Nuggets Bitch or Ill Punch Your Fuckin Face" i'd more than likely be curled in the corner of my room worshipping Arthur Russell and LordPots' ratings while jacking off feverishly to all scenes in Twice A Man next to a little less than sixteen candles. AHHHHHH... what am I EVEN saYING ANYMORE.......WHYYYYYYY AM I even doing this? NO ONE WILL CARE, I mean... do I even CARE anymore?? Is this BRINGING me ANYTHING? Why do i LOVE this MUSIC shit SO much AHHHHHHHH **Oltnabrick's Favorite Songs From_2013_**oltnabrick 03.07.14 "i dont need to explain myself". Ugh, he's right.... This is all so pathetic. I don't even feel like im doing it for attention though.. wtf is this just like an obscene amount of expression in an effort to relate 2 my niggas??? What is sputnikmusic eveN?????? what is ...fuk eVEN?????? I can see it now, psyched3D will be the first to comment, "list is bad, neg'd instantly -empty canvas is full- lmao album's showcased are good.... though i think this kid's high off his own gay taco ass. I0000days 03/03 18:04 CST such a great username! such a great user! LMAO.. NOT. your life SUCKS. get some pussy faggot, jeez" Wow. So true. I have issues. HUGE ones. I need help. I need to march straight to U of H and plop my gay taco ass in a desk. I have to leave sputnik again for a month.... NO scratch THAT, I need to NEVER return. UGHHH but NO i can't pull a GiaNXGX yet.. it's not time!!! i'll miss everyone too much.... and i'll miss new music so much..... it just doesn't sound right it doesn't FEEL right nooooooo nooo i can't do that - - that's not me im happy????? ____ i'm addicted to music too much, i love life (pull out the pin) too much????!??!? omg helppppp HELPPPPPPPPPP someone HELPP MEEEEE ... ANYONE PLEAAAAASEEE :' (( ( (( ( I Am Having An Experimental Crisis. This is it, I'm deleting it all. ...fuk it all... I'm through. It was nice making account at the age of 15, but the book's closed now. I've had my fun, I heard Loveless.... and that's more than enough...... right? Goodbye, ...fuk 2. Have a nice life, Deathconsciousness: 741 votes Album rating 3.5____________________*beep beep beep*______________________*beep beep beep*______________ bzzZZZZrrrUHHHHHHHHHH ZZZzzzzZZZz BLARRRRRRGGGGGGGGGGG______________ "G-g-g-g-h-h-h-HOST bO0OoOoYYY?!??!?!" *h...h.e...e...llo....... e..t..hos.....* "Please don't kill me, Ghost Boy!!! I'll do anything you ask!!!!" *hu..e.e..he..u.e.he..he..he... ma.a..a..y..ybe.... a..n..o..t.t.h..e.r. ..n...nn..o..t..t.....n...n...o.w.w..w....w.* "What do you want then, Ghost Boy!??? TELL ME!!!" *y...o..u... k..n..o...w...w.. ..w.. wh..a...t...t.. y...o...u.... ..d....o..... e.t..h..os...s..s..s.s.* "What, Ghost Boy!??! WHAT!??!?" ...i...w..i..l..ll.....ll.... .l..e.a..v...v..e....y..o..u..u.u.u.....wi..t..h...h.h.. o..o..n..e...e....e.....f..i ..n...n..a..a..a l...l...h..i..n.t..t..t..t.t..t.:..:..:.....R..h...o....d.....y...1............ _________ bzzZZZZrrrUHHHHHHHHHH ZZZzzzzZZZz BLARRRRRRGGGGGGGGGGG *fading echo as ghost boy's translucent figure vanishes* _________ *ethos gains a heightened sense of determination* Dear, ...fuk 2: you will be finished. Not just for myself, the sputnik community or honor of andcas.. but for RHODY1. Ghost Boy was right, I can't falter. Thirty-six more entries to go after this.. I'm no bitch. Can it be done by April 10th? From the famous words of Young Jeezy: Let's get it. *ethos switches out of presenting his thoughts like a journal entry/play narration and back to regular mode* alright let's start with Robert Wyatt's Rock Bottom for a second which is prob one of the most underrated prog masterpieces of all time (and im not even a prog dude, tbh). Whole album feels like you're underwater glub glubbin', piano KILLS (lol hi) it but when we head to "we're not alone" that's when thing get real magical. like 3:58, yeah choir angels come swarming in and ...fukkkk 4:32?? lol this seems corny at first but as it keeps going it's just undeniably beautiful synth at 4:56, WOOO WAA WAA WOOO WAA ...fukk lmao Robert Wyatt got way into this and it's cool don't lie you know you like it. Alright hmm what else can i do for my dawg RHODY1, let's see.... Mark Hollis' Self Titled? You like that one too, huh Rhody1? THE GIFT? hmm that's a personal fav i've been jamming it for a while, Mark's section around 2:17 where the woodwinds come in and set up for 2:26??? that soft acoustic guitar strum??? 2:35's picks into 2:51??? 2:51 2:51 2:51's harmonica??? ...fukkkkkkkkkkkk || song/album: || mood/vibe: (easily best user)
36Three 6 Mafia
Mystic Stylez

LMAO nothing beats the intro to this album im not even gonna spoil it but right when you put it on you'll know what you're in for "MuahahHAHAHa - MUAHahahahAHHAHAHaha" I LOVE THIS DEVIL SHIT bro NO LIE i can get behind these mad killa ass vibes ohhhh shitt bust that nigga in the head yeah KILL that nigga cuzz YEAH YEAH YEAH mUAHAHHAhahahahah "BREAK DA LAW BREAK DA LAW BREAK DA LAW" repeat x50 against the grimiest/filthiest beat of all time got they're just murdering this track like none other im SO fucking hyped with this knife in my hand im not even killing with REASON anymore i just wanna see a nigga BLEED god it's so funny and the END, southsiiiide - northsiiiiide - wesstt siiiideee- eaaast siiiiide, "get BUCK motha FUCKA get BUCK" ....FUKKK what a track. DA SUMMA'S down to smoke a blunt and just lean in a corner up in the studio bobbin to the beat lmao omg im playing this shit so loud with the doors of my house open while my friends are sitting next to me playing blackjack/eating fine steak this chick just cooked, this is the funniest environment ever. god that synth in DA SUMMER tho oooooo mannn but live by yo rep (BONE DIS) says we can't tolerate no nigga that is lazy and da SUMMA kinda has that lazy ass vibe so let's get off of it real quick although it might be my fav track cause im bout' dat lazy boy furniture sonnnn YO who is this CHICK!??!? gANGSTA BOO!??! this bitch ain't playin holy shit what a flow she kills it on here and in DA GAM (DOPE GAME || COCAINE) lmao speakin of which im 'bout to BLOW son hol' up brb actually bbn RIP 2 ethy nah jk jk i dont blow i dont fucks with dat shit but im down with JAMMIN the attitude that comes/goes along with it and trolling like i do - ohhh hSHIIIITTTTTT..... THAT GHASTLY ASS SAMPLE coming straight out of that super mario 64 boo's mansion shit and omfg this dubby beat ohhhhh shiit LMFAO the "Booahahhahhahahha" vocal sample god that had me in tears... but seriously check out the FLOW/RHYTHM on this TRACK i think this is the best track tbh the beat rides their verses so hardddd. "oh my goddd i hear some voices tellin me to killll" LMAOOOO ohh shit this girl is the craziest in the click im gettin hi off this shit 3:22 listen to that berretta of delivery uhh oh and around 4:00 is when my #1 homie comes in this dude's DEFFFF hi rly HI the blackness is in his EYES his diction is toooooo much 4:50 ooooHHHHHH when that gargoyle chime BEAT hits off of him not letting up how much of an INHALE did this dude take to pull that out for us???? ....fukkkkkk man that chorus on street robbery DUNNN DUN DUNnnn dunnnnnnn "and now theSE nIGgAs TAlkIN 'BOUT straight ROBBINNN" lol that laugh is maniacal ....fukkkk MANNNN i love this shit and WHY are all the title tracks spelled incorrectly? "da begining" ... "now im hi, pt. 3" lmaoooo man that had me laughing for like thirty seconds, WHY ARE THEY PT.2/3 LOOOL?? these dudes are too much, so funnnnnnn!!! || mood/vibe: The Moon is full and all i see is 6 6 6 in the sky......
35Built To Spill
Perfect from Now On

Nearly two years ago I was thrown into the hospital on my summer break due to my Crohn's. Which is basically this -'s_disease but if you don't feel like getting all crazy serious on something that's super irrelevant outside of this entry in the list I'll go ahead and tell you that it's an inflammatory bowel disease that affects your intestines/stops you from eating. When food tries to digest it hits a ton of ulcers which can feel like a freight train being dropped on your stomach then being stabbed repeatedly/lit on fire. It's super ...fuk'd, easily the worst pain I've ever had to gruel through and I doubt I'll ever discover something worse. Anyways, Built To Spill gets thrown into the picture here because during those two months I was in the hospital there was one specific moment I felt like I was destined for death. The pain was so severe that I couldn't move, all I could do was just lay there and take it (lol). I remember listening to music to try to cope through it all nearly the whole time. The intro to Miles Davis' "In A Silent Way" is so perfect when you're about to die/on 239049023940 doses of dilaudid/morphine - it glistens so well - the way that sax breathes life into the song at 2:07 and on I swear I never wanted it to end. Also, My Bloody Valentine's "Honey Power" was on some megaperfect levels of serenity once it broke off into that charged "Oooooohhhh" sea-horn/wavy section around the 3:00 mark to the end. 4:05 when they just keep at it, diving deeper - it's like... that's just it, this is it - peace bros I'm off for good now be back never. afk. But nah, I didn't die. Those weren't even the worst moments of my life/my best ...fuks on that hospital stay. The best ...fuk in the hospital was undoubtedly Perfect From Now On's. I had never paid attention to it's lyrics before that listen, but for some reason I was just so affixed on what Doug Martsch was saying on that album. Laying there on one of my worst "flare-ups" as my family and doctors stood sorrounding me, all of them devastated. I couldn't stop yelling in pain. Screaming for a rescue, absolutely anything. No one could assist. For the first time in her life, my mom had to sit there crying, watching me struggle helplessly without being able to do much other than speak words of encouragement. In the midst of all the physical pain, the mental portion started to kick in too. I felt so terrible, to cause them that type of grief on top of all of mine. I've never been a fan of pity, I appreciated the fact that my family stood there caring - but the fact that I caused it made me feel even more guilty. My body was continuously torturing itself at random, I was scared that if I got out of this cycle - the next one would be even worse, and I didn't feel as though I had the strength to face it. The end of Made Up Dream's incredibly ear-catching soothing lullaby coda at 4:38 led me into the beginning of Velvet Waltz during all of this. I've never had a suicidal thought in my life, in that moment I wanted to die. Not because of how terrible the situation was, but because of how glad I was to have that type of company as family. I was so grateful for the beautiful life I was given, if it all ended there and the pain were to cease I would be happy. It was selfish. Every single word Martsch said in that song permanently changed my life. Like he was in the room next to me preaching his lyrics, as if they were created specifically for my mind with the nightmare I was going through at hand, "And you better not be angry. And you better not be sad. You better just enjoy the luxury of sympathy, if that's a luxury you have. And you know no private bad. You know that's the meaning of you're done. In a world that's not so bad. In a world time was killing in the sun." Those words were like x________X The "luxury of sympathy, if that's a luxury you have" stuck to me instantly. I realized that having people that care about you in your weakness is a good thing. Because some people aren't fortunate enough to even have someone for them when they're stuck. "You know no private bad" - Not knowing a situation or a circumstance where I was on my own. I couldn't even contemplate a situation where I had been in one. And I certainly wasn't in one on that hospital bed. "You know that's the meaning of you're done" Without everyone's help during those two months, everyone's sleep-less nights I would be dead. Nonstop moderation, the fact that nearly all of my close friends came to the hospital to talk to me/spend the night to make sure I was fine during that period - it all sat so well within me, I was determined to push through the suffering I was under at that moment to not let their love and appreciation go in vain. And then the jam session crashing in after all of that? ...fuk || song/album: || mood/vibe: A LOT OF MORPHINE AND DILAUDID
34Oidupaa Vladimir Oiun
Divine Music from a Jail

I don't know if the story behind this guy's murder case is fabricated or not... But if it isn't? He's innocent. Just listen to these songs. LISTEN to these spurts of god knows what and how quickly they flurry up and down in rejoicement. I LOVE this instrument. I LOVE this man. God, if I were to just hear him live I think I would nearly faint. These recordings seriously blew my mind, they seem so effortless and untroubled. Not a worry in the world, there's been some serious coping going on here.. you can feel it through every song. Just imagine that amount of time to yoursef with the proper hope/faith, being able to create your own style NOT EVEN HEARING OTHER MUSIC for years - becoming so intact with your instrument it feels like grabbing your own dick. My grandpa owned an accordion and played it for my family before passing away shortly after. Since then I basically forgot about it entirely and couldn't even recall hearing one until stumbling upon Divine Music From A Jail. I gained such an appreciation of it, it fills space so well - and how it seems to almost have breaths of it's own, like it's one of the few instruments that can mimic a voice's passion or how an individual roots up their own spirit - like the exhalation of the instrument, how it can sound like a whisp of air and how it seems as if to always be moving.. sounds can stretch so far, all types of new dynamics: I was seriously addicted to it all at first, because it was so new; would sit and just repeat these songs for like an hour before being completely content with myself and what I heard. Man... How the Shadow Is Clear's intro the first time I pressed play ...fuk. There is something HERE.. this isn't normal. Showed this to a friend who's majorly into music. It got tossed around/made fun of, I really don't get that at all (especially considering they appreciate music) -I've never felt a hint of uneasiness when listening to this dude. Always peace. His music is so sound and collected. Complete control, really out of this world. Divine? Definitely. Crazy because he died shortly after I first heard this. Couldn't believe it : . I think other than "How the Shadow Is Clear" and "Have You Seen Kodergen?" - "A Thin Mountain Ash" and "Only You" are my favorite tracks - that brief period at :36 where it takes off out of nowhere in so many directions then spirals down, and the vocals carry a much more distinct melody than the ones beforehand... man, I don't even know.. They're all so good. Flushes you out completely, way too powerful. Rest in peace. I don't even pause to look at the tracklisting really, there's no point. Just let this dude play. || song/album: || mood/vibe: Divine Music From A Jail
33Talk Talk
Laughing Stock

It seems as if Laughing Stock has been with me nearly forever now. It's only been around 4 years, but it feels so much longer. Like a lifetime. I check up on it every now and then, and it changes. It grows with me, it hasn't ever exhausted itself, let up - or faded out of the enjoyment it initially brought the first time I came to terms with it. Kind of like a safehaven of sorts within music. Still, every single chance I get an opportunity to hear it I'm completely blown away. Myrrhan is perfect. Every note serves a direct purpose to the song, nothing's out of place... so many subtleties - it starts and finishes with so much certainty. "Something's happening" followed by that coda from the violin sweeping me right into Ascension Day... which has always felt like a torrential downpour of rain that just abruptly resides out of thin air (leading into After the Flood) - I'll never forget the time I was so intact with that particular song on a loooooong night of insomnia around a year ago. I've always loved it to death, but this listen was entirely different - the song was flashing back different stages of my life throughout it's run-time. I just laid there in complete darkness with eyes closed and let it reveal lost stages of my life. Was one of the most surreal experiences I've ever had listening to music - like my body was took and placed into a different time - I envisoned moments as a child where I was thrown into the air by an uncle and caught while in a heated pool during After the Flood so specifically. Being so upset with my Mom who had cut a hang-nail off of my toe incorrectly with nail-clippers as the chlorine burned away at my lost skin afterwards - like I had lost some vital form of trust between us, (as a child: not knowing it was accidental - how could she do that to me?). All of the feeling behind it - the humidity and and mugginess within the air from all the hot-tubs - everything was full of water, my face as well (from all the crying) so much swelling - everything at the height of saturation.. it replicated After the Flood's texture and presence precisely. Absolutely crazy. This album's very very very very close to me. I can't stress that enough.. It's built masterfully, it's passages so intricate and detailed with . Putting this on in a car-trip with friends who are usually jumping off the walls for a full hour turned to complete silence and contemplation. Taphead is outright ridiculous and demanding from 1:43 and on it just leaves the introduction of the song completely behind. 2:34, those swells, the synth and rattling adding for more effect - that bass whatever that creeps in at 4:01 and how his voice feels like it's going to just give out any second - almost like it's being consumed by something wicked or corrupt - then at 5:30 it recognizes what's looming -shrieks- and instantly regains composure. Finishing with a bass note that resonates until the final second while two tones sorround it in an attempt to heal what was broken. New Grass. Just seeing those two words written together brings joy. I always envision a sun-shower or marriage. Like an entire life's worth of work is hitting it's peak. Contentment. Everything's fulfilled. The second half of a well-lived life. Or a new morning. It's such a driven song, the drums keeping that same pattern entirely throughout. So gentle and lush - guitar just glides across it all as Mark reaches what seems to be a revelation. Synths sound like birds chirping and flying out of trees. 3:20 is the start of my favorite moment on the entire album. The piano lowers itself until finally hitting 3:44 - where it feels as though virtually anything can happen and it will be just - a few seconds of hanging before 3:47 where a harmonica introduces breaths from heaven. The piano's phrases repeated behind. Followed by sounds that feel like a light drifting fall. 4:56 I always view as a ripple that breaks off into the piece. Again at 6:45 - this time the break takes a bit reveal itself at 7:27, but all the more hopeful. When I was younger, the first introduction of those two particular moments was my favorite but now the second seems much more fresh and content - particularly 7:35, that extra spring and how it turned seems so hopeful. The strokes near the final few minutes finishing the song off, putting on display rays of sun breaking through clouds - behind a fading ring/hum that could carry on forever. Runeii is a recollection. A soundscape in reflection of what has passed. The way the guitars mimic themselves near the end, then seem to just vanish out of thin air - without making much of a statement at all implores a question that can only be asked after this monsoon of a six song suite; when left to survive after a natural phenomenon - such as the kind presented in Laughing Stock, where little to no blame can be thrown; What do you physically possess to still hold onto? What remains to maintain hope? || song/album: Y || mood/vibe: Jesus Christ4 months ago nigga dis shit is fuckin sick i roll blunts and smoke dat shit to dis shit i play dis shit fo my niggaz on da street dey lov dis shit we b smokin blunts to dis shit 19

IMAAAAAAAAAAAAAAA. Whoaaaaaa, discovering this one flung me into all types of new ideas.. the review HELPED a ton for pushing me towards checking it out so props to the dude who wrote it loving me some metaphorical shit. Every time I hear this it's like Nocturnal Transmission gives me gasps of fresh air and YIPEEEEEEEE. Insanely addicted to this for about two or three months upon listening to it. There's like TWO perfect songs then the rest are cool too but those TWO are perfect (Nocturnal/Poseidon). This is probably going to sound kinda weird but when like four/three years back I was heavily into Godspeed You! Black Emperor (shoutout to last eight minutes of sleep, 2 minutes of dead flag blues, east hastings tornado/storm's horns/NOISE section at end of LYSF etc. etc.) and all the awesome things they brought to the table and although I felt as though the band's main focus was DEFINING ...fuk moments____ the composition wasn't subpar or even average at that.. it just didn't have me MOVING you know? Like, of course I could get into the frame of mind on a listen in solitude/alone and i loved trying to find the proper atmosphere for the specific album's theme (F#A# infinity under covers on a booming thunder/flashing night right next to a glass window) but my attention span as a child was all over the place. I like following/tracking notes but at times I wanted a bit more from that.. I wanted to bounce/move around then HIT a climax/peak and keep on grooving from there too! BT's Ima brought me ALL that and a tonnnnnn more. LOL go to page 3 of Ima's review after reading this i was high off my gay taco ass to this shit no joke. Ethics December 11th 2012 4112 Comments Report this Post Album Rating: 5.0___ lmfao i've played this album 39 times in the past four months dear lord. IMAAAAAAAAAAAAA. Deviant says it's HOUSE so i was all about that and kept looking for HOUSE (great movie btw) but n o t h i n g e v e n c o m p a r e d. Nocturnal Transmisson is more than likely the strongest song here in full and it pulls you into this journey right from the start so you know you're gonna be grooving. I don't even wanna type out how it goes, you're gonna jam regardless there's so much intricacy - but i'll say right now "WARLORD" or whatever that is lol and 1:58 when all the sparkle/water starts glistening just like that album cover sup jesus (Cristo degli Abissi) underwater looking up OMGGG ripples/waves and that synth 2:12 extra synth too and cymbal beat/2:22 the manner it comes bouncing in off of walls ughhh into a HUUUGE bass rhythm as that same glistening/glittering pattern at 1:58 just keeps going and echoing throughout??? ....FUUUKKKKK this track is SOOO good im bouncing like CRAZY ohhhh my godd that pentatonic scale/asian kung fu hustle that faintly starts peeping in at 4:24 and that melody that trails right behind it :' ) ) ) !!!! this trackkkk dude wtfff why DID THEY CUT THIS PART out of FAST AND THE FURIOUS ughhh 4:55 back off everything to highlight pentatonic ...FUKKKK 5:09 omg i feel like just jumped into a jamaican ocean so crisp and fresh... that throbbing pulse too okay wtf is going on now 5:24 it's getting real now wtffff ohhhhh ....FUKKKK this tappp-ppp-pppp-inngggg feels like im being S-s--s--s-s--h-h-h-a-a-kakakakak 5:54's clicking *unlock* ...FUKKK alright now we got some like Diddy Kong Racing space alpha overworld vibes going on at 6:23 wow david wise you were jamming BT huh my dude???? "WARLORD" loool ohhh it's raising higher and higher 6:54 this is getting INTENSEEEEE wtffffffFFFFFFFFfffFF 7:08 another layer of idk!??!? OM...FFF..UUU...k.KK....GGGGGGGGGGGGG 7:22 like 24 pounds on the bass so quick/spurted that cymbal hi hat rhythm carries that climax and JUST when you think the songs gonna fade out but have a hunch that it won't ..... it arrives..... 7:29 dub ----- to the absolute grooviest/dance track LED disco floor beat ever put to a track oh sup kung fu hustle dudes again that was so insanely perfect..... OMFG IMA IS SO GOOD, LISTEN TO THIS!!!!! IT WASNT EVEN IN THE DATABASE!??!?! WTFFF i wanna cover every ...fuk but ugh i can't this is just too much power alright what's next hmm POSEIDON alright jam jam jam 3:37 ~~ ~ ~ ~ @___@ 4:29 ...fukkk i wish i knew more terms for electronic music : ( oh well, 1 day.... ok can't be sad jamming ima duh alright yeah we're still killing it, i love how IMA never bores like after 45s to 1m you're always introduced with SOMETHING new whether it be mixed waayyyy deeep (texture-wise/forshadowing at 5:44 those micro melodies) or right in your face at 5:59 .... oHHH noooOO BT's about to DROP a bomb again ... this is SUCH a good portion the inhale/exhale of that atmosphere.. the strings... synth at 6:27 with that beat, breakdown at 6:42 where you really start hustling 7:11 though... THAT'S where you're getting DOWNNNN yessss YESSS YESSSS bubbles floating up in the back // aquatic master BT maxxxing out 7:40 .......FUKKKKKK aosdfioasjdfoijOIDJFIOSJDfoijadf[ -0a0sidf 7:54 ....>FUUUUUKKKkkKKK omfg IMA!!! asdfpoasdfpok 8:39 wtf is that like conga drums now?? recollection on the former strings to a fade out... my HEAD --- x___X so ..fukkkkk ...fukkkkkk DEEPER SUNSHINE alright so we hear splashes of water right away already a good sign of IMA / mario kart tubes underwater part on the Koopa Cape level that was cool ima sounds like that on some portions hmm nice atmosphere going alright im chillin just cruisin through this all being zoned out just looking for a ...fuk and oh hey out of nowhere ___!!!!___ 4:15 sly electronic guitar line pops up and soars ...fuk // DIVINITY wowwww alright this one is cool it's got that like marble/glass piano feel 7:48 that fall of the synth beat and the introduction of that seraphic PIANO is when you FEELING it wow BT can play 8:17 dun DUN DUN dun dun 8:22 the piano picks up faster w/ increasing passion as each second flies by 8:48 ...FUKKKKKKKK omggfgasdfaisjdfoij ... FUKKKKK i wiSh I WAS THERE !!!!!! ... 5/5 ++ gj BT this album rules idk what's been going on with you lately man but Ima rules, CLASSIC || song/album: || mood/vibe: sohosq3 years ago Wicker Arches - Sheffield April(?) 95 ... Sasha, 6am last tune of a four hour set. Warehouse doors open and through a sea of hands in the air I can just make out the line mini cab drivers leaning against the their cars while the piano takes everyones head off. magic

Yoran's entrance into my life was soooooo perfect for the mood it held. *Random message on my wall from Havey in middle of night* "Not sure if you've heard this or not (it's kinda popular in small circles), but I think you'd dig it". *Looks at album art after downloading* Some transluscent image of a ballet dancer tying her shoes?? OOOooOOOoOooO nice nice okay yeahhhh i like that hipster shit i dig it, im definitely all in. So basically... if you're into...hmmm man i don't even know if you're into some kinda mystery type of a magic album or if you've ever wanted to become a ghost kinda like the album cover or something I suggest you check this out. Anyways, right from the start you feel like you're becoming a spirit completely transcending this material world isn't that so awesome to put on your resume for chuck e. cheese "Yoooo- yaaaa yaaa ya yooo ya yaaaaaa" behind a Japanese voice wow - - bzzZZZZrrrUHHHHHHHHHH ZZZzzzzZZZz BLARRRRRRGGGGGGGGGGG _________________________ "HELLPPPPP - - - HELLLLLLPPPPPPPPPPPPP"""" * * * * * * th- is i...s.. n...o.. ... . . e..t.h...os... this is... g-h-o-s-t....b-o-y. hu.u..u.u.u *dogs bark in distance of the specter jam that is Je Derve Lair* .... . . . .. .woof woof... ...f..u....k..k..k..kk.... *Montparnasse hits that one part on 3:41 where you can hear a faint trail of one of the best ...fuk moments on the whole EP* ....f..u.....k....kkk .. g.g...go..o..o.d..d.d. j..o.oo..b..b... e.t..h..h.o...s.s.s.s. ... y...o...u..u.u.u w...i..l..l........ as.....y...o...u...s.e..t...o..u..t..t..t.....t..o...... *ghost boy returns ethos back to his vessel so he can finish ...fuk 2* *ethos decides to replay montparnasee in it's entirety cause it's just that kind of a ...fuk || song/album: || mood/vibe: This list rules. I'm gonna see if it can get featured -
Niggaz of Destruction

This music documents the hard times some humans have seen. People were dying left and right, projects everywhere and nothing to look forward to. Imagine being a 10 year old looking out on this from his porch. Crack dealing at its height, gangs having murders daily, your fathers job at Firestone is cut, your mom out selling her pussy for $5, your brother getting locked up for life. Walk into a house full of nothing but concrete slab, shit stains/goo plastered on the walls, and chained up pitbulls starved with only scraps of chicken bone to feed on, oh.. and YOU. This was once what some woke to. Which is why this music is presented in such a manner, you don't just become this overnight. It's manifested through a lifetime in the harsh reality of this cruel white world. Man, nigga fuck all that description shit on the real though - basically, if you got a bitch ass nigga hoe'ing you out for some dough just call up the N.O.D. and they'll take care of it guaranteed. Man nigga fuck that too, you just gotta PLAY some motha fucking N.O.D. and they'll shit their pants right then and there, definitely forking over bills and prob their wet drawers too. These niggas ain't scared to die, they already told you that on the first song. Listen to the way this nigga says "NIGGA PLEASE" on Tiny Lane at 5:13. That's a ...fuk and the type of shit that'll leave yo' ol punk ass dead in a heart beat. Run now or face imminent death. I promise you these dudes ain't playing no kind of games, straight on that ...fuk the world mode. Nigga I ain't ever heard no ...fuking shit hard as this. I'm warning you right now out of love, cause these niggas ain't got any. N.O.D. may just kill you for not being cold enough to jam their own shit. Don't say I didn't told you............... nigga.||song/album: || mood/vibes: you brought this upon yourself.. you fucked yourself... your funeral date has been set... your funeral home has been chosen....
29Vashti Bunyan
Just Another Diamond Day

First heard this exactly one year ago. HATED IT. Felt un-inspired/like Bunyan was treading on another nigga's swag, I think it was mainly cause of that ...fuk'ing Lily Pond song reminding me of a pre-school child's nursery rhyme or something. I knew the first two songs were dope though, idk the album felt so long and boring despite it actually being under forty minutes in length. Plus it was felt so PLAIN AND SIMPLE. Ethos at that point in time was about the hyper Water Curses life he wanted TONS of energy or maybe he was fronting like he was too hard for this shit.. who knows??? Now he's here, writing this - looking back... LMAO dear god, I was really showing how gay my taco ass actually is. WHAT WAS MY PROBLEM????? This is that album that you give-up on for like half a year then randomly scroll past on your itunes or whatever --> click and ZIIIINGGGGGG naturally just DECKS you in the grill. I LOVE HER. I LOOOOVE HERRRR. ~U hav 2 fall in luv 2 understand~ It's actually not PLAIN AND SIMPLE at all, it's just direct . This is like one of the richest/full in sound folk albums i've ever heard!! When I start up Diamond Day it's just AWWWWW. The wood-wind section of this album is ...... way real. I think if I get sick im gonna drink soup + diamond day i will feel perfect instantly. Her voice is best thing i've ever heard easily. I don't even care about voices!!! I was thinking of 5'ing this on the real!!!! But idk it doesn't fit my personality i don't think but oh man it's good. TIMOTHY GRUB when that faint piano starts playing in the background near the intro ...fukkkkkk WHY DOES IT FIT PERFECTLY??? That's the thing with Just Another Diamond Day, everything. fits. perfectly. There's no filler/tryhard instruments coming out of nowhere making unnecessary sounds shitting up the song. 2:13 of Timothy Grub.. I think that's a flute, right? ...FUKKK - Swallow Song, PERFECT. Especially the end wowwww how the stringed portion just kinda flutters along with her voice then kinda squeaks a bit but not a squeak and hits that undeniably gorgeous rest? And i'm not even talking about the musical rest (i mean i am) but actually like a LIVE animal going to sleep kinda thing, that's what the end of the Swallow Song reminds me of. Like alright hold up let's bring in au hasard balthazar for a sec here i mean yeah it's kinda obvious to relate the two but i always think of my relationship with that movie when i think of this release. They both have that slow and calm farmsville vibe and they both took a bit of time for me to appreciate. They're just so naturally beautiful though ugh like idk i love em' both to death i had to sit and let my thoughts kinda collect on why i was so enamored by their simplicity before getting completely addicted. Just accepting them for what they are, I guess? There's nothing "bad" about either releases too they just are so docile kinda like a cutey girl that u wanna give a big kiss too after u have a party hmmm and still it's majorly appealing to me idk im rambling a bit but yo let's talk about Rose Hip November here (my fav track). Captures "Fall" perfectly, everything feels as though it's slowly drifting in the wind - the lyrics provide the perfect imagery.. the way those chimes come in so lightly - i always imagine falling acorns from a tree or idk maybe light rain hitting a lake.. that flute again ...fuk and then the HARP that swirls around her rising voice at 1:27 ??? OH MY GOD. 5/5 FOREVER. 5/5 FOREVER, I SWEAR. I LOVE YOU VASHTI!!! I LOVE YOU!!! || song/album: || mood/vibe: omg i love everything actually especially sickpriest aka godisreal thx 4 having au hasard balthazar as a profile pic that was a godsend THXXXXX, Pug 1:06am vashti bunyan? that bitch had the good shit. u can tell,
28Animal Collective

!?1//Wtf?!?/1/1 this ISN'T" mYY G1rLZ?!//1/---- AD0BE/ sL@tZ?!11!/1/1 ___HOLLINNDAGAIN__ ugh just LOOK at that album's cover what a fantastic shade of orange this release paired up with danse manatee makes for some FUNNNNN times my dudes animal collective was really trying to bring forth some creative ideas here, like LMAO i wish i could have just been there chalking it up with them, scraping at concrete and hoping to find gold but whatever at least i can listen to that musical inventiveness/look back upon it now. THIS album along with Danse pushed aside SOOOO many boundaries on what i considered you could "create" with music. Both releases started nearly unapproachable in concept/execution but it was ANIMAL COLLECTIVE (they can't do wrong) and i was curious niggy so i kept listening. asfdopadsopfkPKSFPoasdoifjasdflkpshHHHHHH is basically what i heard at first but then it turned into ...fukkkkkk with time. i'll cover Hollinndagain to start, "I See You Pan" remains as one of my favorite songs to fall asleep on to this day, and not because it's boring either. I find it hard to stick in something to listen to and drift off into sleep unless there's barely anything to cling to at all. If there's too many instruments in a song and it seems wayyyy too intricate/interesting I'm just gonna listen to the music! There's this interesting fad going around youtube called "ASMR" ( which is supposively to aid it's listener in falling asleep. It normally exhibits scratching/ripping of paper/taps on boxes - soft whispered voices (extremely close to mic) to the point where you can hear a lick of a lap or the click of a tongue against the dryness of a mouth that travels through the L/R portion of speakers or headphones. All of it was kinda big to me on the execution of sound and what kind of emotions it can elicit and i'll admit it does become a bit hypnotic and sensual (which i guess are two huge factors on driving one into a soporific state of mind) but overall idk it just feels like these GIRLS are REALLY bored and want to express their thoughts to pervs who knows maybe im being mean but if it's working for people then hey keep it up, dudes. real surprised it's so popular tbh ( ANYWAYS, i could do THAT or I COULD JUST LISTEN TO Hollinndagain's intro LOL, WHICH IS PERFECT. Sounds like im reaching into a box of crayons and jumbling them around all about, or witnessing an avalanche from a distance. I have absolutely no idea why but every single aspect of this song's noise/texture elicits so much peace and recollection within me. That MELODY from Geologist how it just wavers around next to whispered mutters from Avey.. Hearing all his breathes and the tsk TSK TSK TSK tss tss tssss ughh it's almost like a demented/deranged type of lullaby. Something's watching but you feel it's presence and want it to acknowledge that. "I s-e-e-e-e youuuuuu Pannnnnnnnnn, up in a tree-e-e-e-e-e" ___ "stoppp loooking at mee, like im uglyyy" || "for im in beeddddd, and shees's asleeep"///"stop looooking at meee, look in my grave". HMMM it seems as if AVEY is speaking to a the god of nature/rustic music how strange?? ? ? i've always been nearly obsessed with greek mythology so i couldn't help but wonder WHY mr. david portner would make a song directly influenced by pan's presecent.... what are you up to here what does pan want with you?? do you think your MERRIWEATHER POST PAVILION FANS would approve? more than likely not, but this RELEASE IS BETTER (for me at lease hehe) 8:40 to 8:50 is so much fun to hear cause he doesn't complete the notes from his melody - they're a lot more sparse and creative, i mean you only HAVE a few notes here lol how much can you do with it??? especially around like 9:20 and those vocals lmao sounds like someone's singing and karate chopping their neck, so cool ...fukkk i almost fell asleep jk im too hyped to write this one cause i love it so much.. pride and fight features a gallop similar to here comes the indian's opener but a lot more thin and gentle - the guitar strum that pops up around 2:21 and blaring horn that does as well next to the heavy pounding that carries along exploring dynamics before hitting like 7:02 where it becomes a playful beat/melody of "AyeaAHHHHHHAHHHH"s and tribe chants/fights ...fuks so hard before exploding in their face at 7:37 awwwwww the fun died down back to "myy priiiiiide and fiGHHHT" and "Forest gospel, forest gospel ohhhhOHHH ohhh ohhh ohh ohh ohh oHHH" ...fuk 1 ---- -- -- - 2 -- - - -- - 3 !!! brrrRRRRR DAAA DAA DAA ERRRRRRRRRR BEEEP badada BERRRRRRR...fuk AOISDOAJSIOjclvlcvknxasdfap I)_AS)_di..>FUUUUUKKK intro of forest gospel is WAYYY TOOO FUNNN omg this is like enterring a room with like one acoustic guitar a pair of sticks/maybe a garbage pail and a defunct monitor seeing how far you can pull it. Avey hollering maniacally "ALL of my best FRIENDS use the coke pot crack PINNN" while Panda echoes "are you ready?", building all types of tension and energy that's waiting to be released. here it comesSSSS, "and uhh POWWWW all you need is a nick, you pull out prick - you pull the sticker" guitar starts to create a bit of uneasiness around 2:04, mimicing the rhythm. the tempos so quick, heavy gasping - Panda is so eager to DESTROY something (but not until the time's right), "uhhhh CMON CMON cmon cmon" - - avey's strength growing, "POWWWW all you need is a nick, you pull out prick - you PULL OUT THE STICKK" dynamics reaching their height before starting to DUMP the energy at 2:34 ---- bouncing off that first CRASH and hitting even harder "CMON CMON" indecipherable pull out the?? ? pull out the? STICK? ?? cut up around the room in different angles into "POWWWWWWWW"s and clashes over and over again 2:41 and 2:43 twice cymbal crashes 2:52's the heaviest one omfggg jk 2:58 "POWWEwr0i_)ADSOIJADSOijkcvnkjasdfioj" .... FUKKKKKKK it was ESSENTIAL that they did a live recording of this album, you're not gonna capture that raw/untampered noise and energy anywhere else. hooooly shit that was some good stuff, lmao NICE "4.0 excellent rushhour3 | May 16th 08 This CD is pants. The drums are awesome. I listen to it in my car. I can yell all I want. And they yell on track 3." < --- -- -- - THIS DUDE KNOWS . omfg there's an arrow :') this one might by fav on Hollinndagain but i'm not sure!!! geo that woodpecker beat is just TOO much fun uhghhghghghg Avey musters up a playful melody that just carries along to geo's blaring noise/woodpecker/construction grind UNTIL panda jumps in with his drums "DA DA DA DA DA DA DA DA DA" 2:16 ...."IM having SOO much FUNNnnnnn" "i can'T give TOO MUCH AWAYYYYY, i think your body will Beattt IT" the rhythm of that is just asdfopasdfajsdfoij oiIOJS yesssSSS AVEYYYYY 2:28 the drums again "DADADADADA" it hits a creative height so well there, the song serves it's purpose massively within the last 50 odd seconds ...fukkk omfg LABLAKELY DRESS ON HERE IS off the chain - ughh this is like the most beautiful thing i've ever heard it feels like a hazy state of love with butterflies all up in your stomach on the OTHER MUSIC/Danse version?? but here, idk it's like PASS that it's like losing that love through death and grieving in how much you miss him/her dear GOD i love this track ...fuk'ing panda's spirited echoes it feels like the track is being lifted smooth off the ground. Avey's muffled effects and Geo's patterned bellows/hissing of his synth - Avey's studdering at 3:33 is ...fukkk but when he starts chanting like a tribesman "HAYYYY YEAHHH HAYYY YEAHHHHHHH HEYY YEAHHHH" as everything kinda clashes up against his melody and he his sounds grows higher in pitch barking/howling repeatedly until sounding bewildered at 5:11 and 5:14 as panda and him kinda bounce off each other's energy communicating in shrieks ...fuk. Tell It To The Mountain is all in the drums/buildup near 2:20 / stampering at 2:38 ...fuk and those paranoid grunts/whimpers jumping in at 3:20 and on from Panda/Avey. I think someone in the crowd goes, "I think they're crazy!" LMAO nice - the spiraling/dwindling way of those voices ahhhhhHHHHHhhh noooOOOoooOoo!!! ...FUKKKKK and Pumpkin Gets A Snakebite is just lmao idk what that is but i like it, seems like it's a good end to this wackiness holy SHIT at that synth effect at 1:41 "but I'VE got ?!??! I'VE GOT!//1/11" aiosjdfijoPSDPfshhhHHH brrr BUHHHH lmao these dudes were on it "my.. FRIENDS" *guitar goes BRRRR* lol that's like the best part it's so out of place/unnecessary but that's what makes it good lol and then Hollinndagain ends. WOW that wasn't OPEN MIC 4 chord strum, that's all i can say. HMMM should i cover DANSE?? i mean i havve to cover danse but this is so long so i'll just cover like two or three also read iscarabaid/claudio's review and my soundoff that will help awww DANSE IS SO CUTE i love it omg im listening to Essplode and Panda you freakin' savant i could listen to your drum playing on this TRACK all day dude WOW you hit it off here!!! Avey wtf man what a playful melody ....fukkk asodpfjaspodf 2:08 "YOu'LL be WALKinnn IN THE SUNNshiiiine" (oh yeah) ...fUUFUUUUUUUKKKK *yeah! yeah!* ^_____^ meet the LIGHT CHILD is AWESOME what a TRACK 2:38's celebration over and over again in what leads you to believe will keep growing happily : ) until abandoning it completely and heading down some little rascal of a evil kinda mood at 2:52 HEHEHEHEHE omg nooOOO keKEKEKekeke CAW CAW *baby cries in background* omg panda lmao those drums ahhhHHHHH ......FUKKK wtf is WRONG with you guys this is AWESOME past awesome nooo it's so thin now im just walking in the rain dudes wow im lonely woops just stepped on some light beneath a puddle at 4:58 HOOOOLY SHIIIT THIS IS MAGIC asofdijasioj aisoioisjf ...FUKKKKKK omg panda's drums 5:24 glowing heated pool water warmth with a light at the bottom to light it all up so you can see underwater w/ your friends ...FUKKK omg trickle from my restroom's tap @ 6:28/throughout all of this asiojdfiojasdfioj THIS IS SO GOOD "meeet... the... light child...." *fades out with a slight hiss* 8:20 cymbal crash "Baaap bapp booop buhhhhhh" ....fuk :' ) uh OH RUNNIN THE ROUND BALL'S kinda PISSSSSEDDDD dnn DNN DNNNN dnn DNN DNNNN shake shake shake shake shake ....FUKKKK "AYAAAAH UHHHH" aasdpofapsodfk RHYTHM!!!! panda there you go again at like 1:21 being perfect with your percussion as always wtf ARE YOU PEOPLE i think you're music masters okay i will be a disciple. pretty much from then on we're gonna hit all kinds of ...fuks that im not crazy enough yet to properly describe head into drugged/trapped limbo I CANT ESCAPE I CANT EVEN GET UP but you're okay feels it's all playful dude we're just messin dude vibes also that awww throwin the round ball and ahh good country's HIYAAA HIYAAA HIYAA hmm lablakely dress is also amaze/magic here especially with the frequency manipulation lol my ear likes feeling fizzy but i covered that like 8 times so nah not doing it again... oh yeah btw im gonna link you to basically hollinndagain live in the mood/vibe section i want you to listen to it and SING ALONG/stay silent in amazement - wow this one's long cause it's double trouble, sorry!!!! *JACOB!* "we all made a fun... CUT - the ends sittin' all the clanging from a singing - BOXXXXXX ... boxxxxxx.. boxxxxxx" ...FUKKKK|| song/album: ____ || mood/vibe: "hey, what are you listening to?" - *gives headphones to girl* "......." me: :') /// also he's just a LITTLE WHITE SINGERRRRRR with a blah blah GLOOOVEE lmfaooooo after those monkey yelling frequencies of penguin penguin wtf also also here's the legendary vid dudes: PLEASE AT LEAST WATCH PANDA ON ESSPLODE/AVEY SEIZURE AT END !!! !!!! !!
27Sonic Youth

Sister's SICK. Has that caged/pent up feeling. Nothing ever being enough of a thrill, everything's neutered. Never reach boredom. Reminds me of the type of kids who just run around, seeking to destroy absolutely everything they come in contact with because they can. Because they want to unravel it's worth, see if it interests them or if it has any value. Sonic Youth. Just look at that band name. SONIC YOUTH. Youth possessing speed equal to sound. Can you get cooler than that? The music here wasn't just for entertainment, it's well beyond that. Take a moment to read any of the lyrics, come up with your own interpretation, let the album grow on you with time and I can guarantee you'll see it. Jumping back to expand on the "neutered" statement I gave earlier, Sonic Youth is struggling here - they're trying to manifest anything they can with what they have. Dissonance and distraught are absolute perfect words to describe this work. There's just this gorgeously mythic undercurrent ebbing through all of it, it all sits so cohesively and works marvelously - despite being so sporadic and jaggedly ubiquitous. Sonic Youth isn't insane. Their minds are perfectly clear and forward - the problem here is what they are given. Sister continuously wants more, it's striving to achieve a state of satisfaction/perfection - yet it feels as if it's alone in it's hunt for it. It's misunderstood because it's so sharp, the sonic equivalence of the detrimental qualities in being "too cool". Alone. Instead of spiraling in distraught from the seclusion of their own genius, Sonic Youth flushes this state of mind out through their music. That's the true ...fuk here. Plenty of artists attempt to etch out their state of mind through their art, but rarely can any pull it off as effortlessly and cohesively as Sonic Youth did here. Especially when considering the unconventional emotions conjured. It's like there's just this huge knot sitting in their mind and every melody/rhythm of distortion and noise serve to untie it, to iron it all out like a smooth shirt. Let Sister's drum opening draw you in and the schizophrenia take you home. Ride that jolted guitar that jumps in from left field around :28 to Tuff Gnarl all the way up to :42...fuk let that buildup/tension crash down from 2:11 and on - 2:46's blare, the pace!!! Pipeline // Kill Time is my favorite track on the album though, lyrics depict Sister's entire vibe properly. Galloping drums "stretch me out to the point where i stop, run ten thousand miles and then think of me. i think you know the place where we should meet. don't worry if it's dark and im late" - :30's switch into throttled bliss the drum's at :57 carrying it into the next portion, 1:31's exhaustion - "the twiddling of idle hands, dripping with guilt" how it gasps for breath over and over again growing slower with each breath. 2:07's rhythm. "no one is right. nothing is solid. nothing can be held in my hand for long." then the noise portion that breaks through at 2:31 bring - these guitars are like four notches under kleistwahr level and that's saying a lot. desperation/imbalance. four strongest words ever uttered, mimicing the rhythm/distortion. "WE. SHOULD. KILL. TIME." ...fuk || song/album: mood/vibe: UGHHHHH, nooOOOOoo, "feel around in the dark until you get the idea", TENSION, sex, fuk u!!!, *sneaks out of house at midnight after parents said no*, i want a girlfriend plz give me a girlfriend i need a girlfriend girlfriend girlfriend girlfirned plz pzl plz plzplplpzlzpzlz,
26Kanye West
Late Registration

Play this and I'll chime in on every verse like it's second nature. Late Registration was the first (serious) rap album that I connected to as a child and considered as my own. My dad had a bootlegged copy laying around the house for a few days untouched and I just snagged it cause apparently stealing runs in the family. I'll never forget hearing Gold Digger on the radio everywhere I went and vibing out to it for like a good month before realizing that nearly every other track on the album is better --- why didn't they play those? Wait, actually.. I think they did. Drive Slow/Heard Em' Say might have recieved a bit of air-time. Which are both fantastic songs btw, full of ...fuks. WHUT IT DEW. My Way Home featured a slightly slower sample of Gil-Scott Heron's Home Is Where the Hatred Is - which was my first confrontation with the tune. Plus the whole thing had this uniqe orchestrated approach which I found strange for hip- hop, but I loved how new it was (to me at the time). The skits are genius, "Broke, broke, broke - flat broke. We ain't got it. Broke - broke - broke - flat broke. WE AIN'T GOT IT." "No we have no money - we out here sharing jeans. If I go outside, I got the only clothing on. How many cars do we own? NONE. How many cars do we own? NONE, SIR!". "Eating cereal with forks to save the milk"...fuk lol. All of them kinda captured the whole "recession" era America was going through around Bush's second admittance into office real well. My favorite tracks were the ones that were real beat/instrumental heavy though - the horns throughout the entirety of We Major, the way those chimes flew up and down - it all sparkled magically for me (and still does kinda nostalgically lol). The climax of that song is a real ...fuk. Loved the way Roses was narrated, felt a lot more personal and heartfelt. Bring Me Down is wayyyyy tooo much of a ...fuk, once again those horns in the back kinda bringing some slight nod of ambience, and the way that stutter on the beat introduced his voice - it all felt beyond genius to me when i was like 13 or whatever. "Y'all don't speak from the heart, y'all all frontin'. Everybody feel a way about K' but at least it's something" ...fuk this shit's just genius period. Check out this live performance - - pretty sure that's my fav song from the album these days. Oh and there were just SO many songs - I think like 21 tracks total? It was all solid and kept things fresh/varied which I loved. My fav track back then was Gone though. I'll never forget listening to it every morning on the bus ride to school before the sun came up drifting off to sleep cause i'd stay up wayyy too late lol. The fact that the track was six minutes long blew my mind, cause i didn't even know songs ran that long in rap. Plus I remember for some reason the copy i had was three minutes of dead silence after the album finished for some reason lol, i guess the dude who bootlegged it didn't rip it properly - but it was funny cause you know the whole theme of the song itself and how he announces he's "gone" from 4:02 to the end lol "They claim you never know what you got til it's gone - I know I got it, I don't know what y'all on. I'ma open up a store for aspiring MC's, won't sell 'em no dream, but the inspiration is free. But if they ever flip sides like Anakin you'll sell everything includin' the mannequin. They got a new bitch now you Jennifer Aniston. Hold on I'll handle it, don't start panickin', stay calm. Shorty's at the door cause they need more --- inspiration for they life, they souls, and they songs. They said sorry Mr. West is... gone." sitting in the dark after that "gone" dropped - thinking about what the whole song was about/the album's depth for three odd minutes was way too cool. Shoutout to Ottis Redding's light piano bounce from "It's Too Late" carrying the sample in this song - as well as his voice lol. Man, it was just too cool growing up and discovering all the samples here from just exploring music on my own. That's another huge ...fuk for me here, Late Registration always seems to pop up back in my life regardless of how often I forget about it ...fuk || song/album: || mood/vibe: swag
25The Microphones
The Glow Pt. 2

I want wind to blow. The same kind of wind from Phil Elvrum's harmonica that blows that door open at 2:31 into heaven along with the guitar strums. Something to HAPPEN just like that, a change. Or how doors creak open start something then end with a pang around 1:16. Those tambourines' energy at 2:58, how significant they are to pushing the song's momentum forward and giving the bleak atmosphere his lyrics have painted a wind. Then being amplified and pounded out after a delicate/nostalgic recap strums around 4:22/4:23 before crashing right into The Glow Pt 2's cymbal crashes/rough edges..... "III took my SHIRTTT offf in the yardddd", it all sounds so purposeful - how a storm brews beneath his voice after the piano relays at 1:40 approaching closer as his voice grows more and more desperate for more wind - a change, a rise - lightning's being rooted up here and he rides it. The breath he exhales from 2:33 to 2:47 ............. 2:51 to 3:31 one of the strongest ...fukkkkkkks of all time. How the storm recognizes his exertion and puddles splash up/trees shake - it calms itself but is still present, all types of melodies jumping up from different directions before residing. The Moon's ticking blast past acoustic guitar playing at 1:12, and how immediate his voice is to start up. Every instrument creates this hazy lunar atmosphere, like you're dashing through a forest filled with fireflies buzzing past.. The track's luminescence past The Moon is so apparent, ambience/field recordings are planted at The Headless Horsemen and grow in sound/melodies up to I'll Not Contain You. This portion of The Glow Pt 2. are the latest sections of the night, pitch-black with no clear vision to be found anywhere ahead. Alone. Map presents a reoccuring theme of a deep foggish echo that begins the track before heading into the thickest areas of the woods. I love how nothing feels as if it's going to make it out - how heavy it all gets between the two vocals and that beating drum. Then it all just breaks at 2:28 next to a high pitched hiss becoming comfortable for a few seconds before everything sounds like a frantic ritual - the hit at 3:56 delivers order and the piano notes dish out the final ...fuk. You'll Be In the Air's cries that start at 1:06 and the strict/halting strums before hitting 2:28's melody/...fuk. I Want To Be Cold's aggressive and drowning atmosphere - how the hums and his voice are masked beneath all the uproar and then poking it's head out of the lake - gasping for a breath and coherence at 1:17, that switch/piano swirling around the coda is ...fuk. I Felt Your Shape's condenses all the bliss scattered throughout The Glow Pt. 2 into one sweet sub-two minute acoustic elation, every deep strum/twiddle and how he hums warmth through the track brings a kinda charming pleasure before heading into the slaughter of Samurai Sword. Those twigs set aflame next to the elephant's trunk on the cover, how it in a way kind of foreshadows a tragedy - Samurai Sword's entrance depicts that. Havoc right from the first second cutting down absolutely everything in it's path. The noise paired with the drum's percussion is so chaotic and flawless, it shears everything out to a keen edge. What makes this track my favorite on the entire album is that moment where the assault for a moment reconsiders it's devastation, suspends for a few brief seconds - then jumps right back into it's punishing blows even stronger than before at 1:17. That small little hum, and how his voice enters. ...Fuking how his voice enters, as if it's possessed. Whispered but insanely sharp, purposefully at a barely audible form of recognition- sending such a deep cooling effect down the spine. The track seems as if the uproar will never halt and then out of nowhere just stops and allows everything to sit motionless. A foggiy echo returns and serves as a guide into the path of My Warm Blood just before bringing in a faint recollection of Samurai Sword's strength, a reminder. My Warm Blood contains memory/reminiscing on events passed. Racing out of the forest, turning around/gazing at it's immensity againt the starred sky and dedicating an ode to it's existence. Phil Elvrum elicits a recollection of his frame of mind before taking foot into the woods with glowing portions of "I Want Wind To Blow" blissfully re- appearing in patches throughout the track before throbbing to an end. "I want wind to blow. My clothes off me, sweep me off my feet - take me up and bring me back. Oh, where I can see days pass by me - I have no head to hold in grief. There?s no hope for me, I?ve been set free. There?s no breeze, there?s no ship on my sea." I can't help but think that throughout the journey of The Glow Pt. 2 and the emotional experiences held within it, Phil Elvrum finally created that wind he so desperately wanted to blow. Call it a hunch, but the inclusion of that gorgeous testament that the album introduced us with being nodded to at the end tells me Elvrum recognized it as well. || song/album: || mood/vibe: seclusion, forest, late- night/retreat, suck my samurai-sword
24Sykor Sai
Sykor To The Core

(This is for Quantum Tale) A song about life and feelings, Space and Science related lyrics, a musical adventure. Listen and Enjoy... || song/album: || mood/vibe: BLACKHOLES OF LOVE... BLACKHOLES OF LOOOVE - THE WAY THEY WORK .. is the DEEPER YOU FALL THE DEEPER IN LOVE YOU WILL FALL... an ETERNAL FALL... THEREFORE YOU and your LOVED ONE will be FFALLINNG IN LOOOVE ... FALLING IN LOOOVE!!! ThE DEEPER IN LOVE YOU FALL.. THE DEEPER IN LOVE YOU WILL BEEEE ____ what if i told you Sykor Sai's Quantum Tale replaced Feldman's Triadic Memories.... hmm, Havey??? i mean it's the best thing ever but im not 5'ing that shit or writing a ...fuk on it. Wonder why??? ..... but you will "5" Does This Look Infected - Sum 41?? ACTUAL LEGITIMATE EVIDENCE: - - Hmm, that's rather strange - a man like you.... bringing honor to the memory of fallen pop punk warrior andcas? hmmmmmm well let's see here... basically... im getting REAL tired of ur shit - you AREN'T the People's Champ, Havey.. I AM. HAVE YOU EVEN - - HEARD - - IT???? DO YOU EVEN KNOW - "THEY DON'T KNOW" word FOR word??? DO YOU EVEN KNOW WHO Z-RO IS???? I HATE YOU, BITCH!!!!! That's it, you're a fraud and you know it - i'm calling your fake ass out right fucking now if I don't see a 1) Olivier Messiaen Vingt Regards sur l'Enfant Jesus 2) Johann Sebastian Bach Sechs Suiten fr Violoncello Solo BWV 1007-1012 or....... 3) Morton Feldman String Quartet No. 2..... --- R E V I E W --- up for one of those releases come May 1st? The People's Champ TITLE is mine you borderline schizo sorta fine tits tho' little piece of dog shit. We SEE your bullshit omfg you think you can just rate 6+ hour long pieces and/or classical compilations and get away with it? I ASKED NICELY. I ___REMEMBER___ ASKING NICELY. "For This Is Past review, please." and I would even review Myth if you did it! But time and time again your little illiterate bitch mouth pulls the "it's not my native tongue" SHIT straight out your fat-andcas dick loving ass. Wow.... WOWWWWWWW. WEAAAAAAKKKKKKKK af!!!!!!!! AND NOW LOOK - I MEAN WE PRACTICALLY have a REVIEW FOR BOTH here in ...fuk 2???? WELL FUK U!!!! Anyways, I'm done. You brought this upon yourself.. You fucked yourself... Your funeral date has been set... Your funeral home has been chosen.... RIP People's Champ title 4 u if I don't see a review May, 1. And don't pretend like you won't read this either, you've been waiting in ur room like fugue guy late at night holding ur lil sputdick waiting to cast ur judgment on my soul but that little ESCAPADE is OVER mr. HAVEY - it's time to own up to the Quantum Tale's words. SHOW. WHAT. YOU. ADMIRE. ABOUT. LIFE... *guitar starts back up instantly lmao* I mean even review Kleistwahr that would be cool so a brotha like me could relate. I like Uncle Morty a lot love triadic even, but nigga wtf c'mon we won't get no bitches reviewing no 18 hour shit like that. "fucking with havey is so much fun, you're real good at it too mad props" thx 5/5 *big kiss* and B I G D I C K S Q U A D.... btw, ily.
23Earth, Wind & Fire
Open Your Eyes

Only reason I'm picking this specific album art is cause it's probably one of the best in their discog. I love all Earth, Wind & Fire I hear really. I don't even know what CD of theirs I own, I think it's "Super-Hits" or something.. parents used to jam out to it when I was younger. Saw it in the passenger seat's cargo box like a month or two back and flipped out once I started recognizing songs I heard wayyyy back. Has been on repeat a good amount of time in my car ever since. Anyways this is a pretty OBVIOUS/essential entry in ethos' weekly jams. Right next to Animal Collective, Heatwave, Ronnie Laws, Marvin Gaye, Stevie Wonder, etc. great vibes/positivity to put on at any time. Speaking of Happy Feeling that little xylophone section that pops up was cool to hear cause I got into Traxxman maybe like a year or so again and never knew what sample that was from in one of his songs and now I know. Also sampled Ronnie Law's synth/texture on Tidal Wave, shoutout to GrandpaSeth and his groovy taste - Why Do You Always Laugh At Me is my favorite track off of Pressure Sensitive. The minute I heard it I stopped absolutely everything I was doing and tuned directly into how natural and comforting that sax played. That title also caught my eye a whole lot, fits the nature of the song well - that last minute man, ...fuking feel that. Back to Happy Feeling - 1:45's deep xyolophone notes, ...fuk. Tight bass, quick sax and great vocals flowing with energy - always moving; Earth Wind & Fire fits my "ideal" personality well. In the Stone's glorious, after those horns do their final squall and that quick groove comes jamming out of :36 always bringing a smile. And of course, "September" - probably one of the most recognized Earth, Wind & Fire tracks... just timeless. Channels so many beautiful things out of life into one song, full of so much warmth/sun. How can you not get down with Earth, Wind & Fire? Like... what? Pretty much hearing someone say, "I don't enjoy music." - "I don't enjoy attempting to enjoy life." The positivity within this should come so naturally that there shouldn't even be an effort involved. You know right from the point you hear the song the band means well, that's part of what music is all about. They killed it, what a wonderful band. Oh and "Reasons" and "That's the Way of the World" too, duh loool ...fuk. See, that's exactly what I mean. Still haven't checked this whole band's discography out yet, can't wait to finish. || song/album: || mood/vibe: Dy-no-mite!, FUNK, Can you dig it? Don't be a jive-turkey, SOUL, Some Baaaaad Mamma Jammas,
22Royal Trux
Twin Infinitives

This one time I felt really poo-poo'y so I took this huge poo poo ugh I was sooooo dehydrated. EWWW. While I took this poop I was listening to Royal Trux's Twin Infinitives. PLUS it was in a public restroom I think Red Lobster or something hahahaha yeah yeahhhhh YEAHHHHHH (iceeee creaaaaaaaaam chocolate poo-poo iceeee creaaaaaammmm). I took out my headphones while on Funky Son or something and that song itself sounds like you're moaning while on the toilet so lmao but there were these people outside my stall like listening to what I was listening to and talking to each other about it. Then they started laughing. Which made me start laughing. And then I started laughing harder, we're all sitting in a restroom with me half naked laughing at Twin Infinitives while im taking a shit. NICE. Then they left. I was still taking a shit so I never saw em. This has to do with nothing btw actually it has to do with everything cause Twin Infinitives is pretty much like if you enjoy fact that I was in a stall laughing with others while taking a shit then I bet you'll like this. If you don't and you want to go jam Yes or Bob Dylan instead then yeah dude go right on and jam Yes or Bob Dylan instead. I mean I like Blood On the Tracks. I'm not judging you and Twin Infinitives isn't either. SO DON'T JUDGE TWIN INFINITIVES. I love this album due to the fact that people sit and endlessly get so over-worked over it. "Rewards immensely with countless listens" lmao gtfo of here with that - name the ...fuks THEN, yeah that's right you're too much of a BITCH to. IT'S TWIN INFINITIVES, YOU EITHER LIKE IT OR YOU DON'T. What I like to do is just TRY and find the frame of mind this chick and dude were in while writing all of this and then come up with a bunch of cool ideas - plus i just love how it puts me in this insanely focused kinda state. Listen to the FIRST song, I swear there's many awesome ideas scattered all the way across this album - I'm not good at describing this music cause lmao let's be honest here who is - but alright here we go we got some laser beams firing in and some guy yelling - a bunch of dudes mumbling beneath him - then ANOTHER dude behind that who knows what he's doing - we get this near the end they hit this real good part where they start feeling themselves and are like OOOOOOOO OOOHHHH getting louder and louder ...fuk then they jam the end out with some fast spurt of lines cause they're practically jacking off now ...fuk - wasn't that interesting? Better than 3 chord strums at open-night mic huh? Have a desire to repeat it again for another crack at what just happened? Yeahhh yeahhh yeahhhh but laying out all the ...fuks might drive me insane so i'll keep try to keep it short. Ice Cream sounds so great like they're playing two songs at once /mixed em - and called it a track, but near the end that stumbling guitar starts to make all kinds of sense. This is like the worst jam session ever put to tape cause they don't know what the fuck they're doing but guess what?? They still know how to dish out the ..fuks despite that. Your college music theory professor isn't gonna agree but guess what im the professor of ...fuks and what i say goes so suck it. The first five songs are perfect sdofasdfjoiasjf, just soak in all this dissonance/noise one night when you feel kinda off or completely shitty (health-wise) and i bet it'll crack you a bit. OH! exhaust yourself from a super long run where you have to lay down and your head is ringing/your breaths are heavy on automatic mode and you might get ...fuk'd. I love this album cause you can just experiment so much with it. Like, for some reason I convinced myself that listening to it under different conditions brought all sorts of varied results. I'd like click my tongue to beats, listen to it while eating food, running at a full pace, going to sleep, etc. It paid off too, I think I was just trying to crack it or something idk this is dumb nah it's not actually im srs here. Those 6-sec gaps between songs add to the crazy effect - DON'T LOOK AT WHATEVER'S PLAYING THIS, AND TRY TO FINISH IT - YOU'LL NEVER KNOW WHEN IT ENDS...... MUAHAHAHAHAHAHAHA. ICEEEE CREAAAAAAAAAAM ICEEEEEE CREAAAAAAAAAAAAAAAAAAM || song/album: || mood/vibe: ughh like that nasty black tarry shit that oozes out of cigarettes but idk it's not NASTY like that but i always think of just BLUhGHHGHGHHhhhh, there's really nothing like it lmao - awesome
21Goodie Mob
Soul Food

Lol, what did I say in @__@ Help Me? "Straight SOUL, Goodie Mob's about to take you back to church son" yeah, that's pretty much it here. LOVE this album to death, deep southern grits/gospel vibe. Look at them praying over the their table, what an incredible album cover. If case you were wondering Goodie Mob means the GOOD.die. Mostly . Over. Bullshit and these dudes present that idea through their music packing the heat. Album's HOT tons of dry/arid air here sitting on the front porch burning your ass off cause it's colder outside with a slight breeze than inside without the a.c. working type of shit. YO that creak from the rocking chair on Thought Process we can sit on that when we're on the porch freestylin'. And CHECK out that SYNTH at :41 omgggg ...fukkkk this beat is ACE. 1:03 so how you feel?? "FRUSTRATED. IRRRITATED" ...fuk these verses are hit too HARD. synth is pulling this track stretching it out mannnnnnnnn im feeling this harddd yooo and is that CEE LO @ 3:20??? i didn't even know he did this stuff prior to his recent surge back into fame, mannn he KILLS this track.. god bless his thought process. this is rap group is too strong now we've got Andre already making references to his beats in OutKast and i looove when rap takes a bit of a progressive approach dropping that beat and heading into hymnful handlcaps full of spirit/soul gives his verse so much more of a delivery... Red Dog's intermission to Dirty South is the epitome of what album's break tracks should depict and Dirty South has the nastiest chorus of all time, "What YOU NIGGAS know about the dirty SOUFFFFF????" mannn let's jump onto that track FIGHTING real quick which is prob the strongest on this album the message is just undeniable. Every nigga spits like their FIGHTINNN for their spirit and mind, that swerving car sample is a nice touch for the story along with the crash but mannn when CEE LO says HOLD UP we're not through here i swear we hit some of the most beautiful/inspiration poetry in motion spoken word hip-hop/culture ever - straight TRUTH and when that choir cocoa butter chorus starts fading in if you weren't already ...fuk'd well you're ...fuk'd now lol Cee Lo' "MMMmm mmm mm" sounding like my grandma when she's disappointed in someone and "EXCUSE ME IM 'BOUT TO GET SOME SHIT OFF MY CHEST" ...fukkkk. Ohhh and mann how could I forget GUESS WHO??? i lov my mama my nigga this track is too good with how it keeps the questions coming, anyone ever play guess WHO the little flippy "do you have green eyes?" game as a kid?? that was cool lol, "IS YOUR CARD MY MOMMA??" so much responsibility/appreciation in this track - if you hear this after and you can't respect yo momma nigga.... oohh i better stop here before i tell you to take a switch off the tree or i take off my belt.... || song/album: || mood/vibe: ljameson787 months ago dang takes me back to the ole days, back in college, with my home girls, nesbie and shameeka.........cruisin' in nesbie's Cadillac, thumpin at this........(sigh) smile comes to my face, days you'll never get back, enjoy your youth guys..... so how you feel?
Tango N' Vectif

Not many songs strike up as many vivid thoughts/memories when compared to "Beatnik #2" for me. Completely floored me from the first time I heard it, and it always seems as if it holds such significance. You can't pin a point in time to it, it's sound seems as if it holds time/memories/wisdom within it - - as if it's something that was created from the future and from some mishap was accidentally dropped for us to stumble past in 1993. I always picture the sound itself as the jagged balls of light the"Your Sanctuary" bosses are depicted as in Earthbound before heading into your actual sanctuary where you gain personal insight of great significance. It has this shimmer to it that just pulses so powerfully attempting to engulf that echo of a melody from afar. The way the bellows are patterned and highlighted in pitch ever so often and how the melody grows slowly in strength as the song progresses, piercing through the pulse and hypnotic chiming echo of the atmosphere the song provides - hinting at a hope for escape until finally breaking free, screaming in rejoice near the final few moments of the song. The track here is pretty much unlike anything else you'll encounter on the album, and because of that it hits you fast from the start on the first encounter. There's this prestigious eminence here, lot's of power yielding knowledge only gained through relentless dedication/passion. Reminds me of this conversation I had with Claudio (- APPARENT DOORWAYS - LION OF THE VIRGIN - DISPERSAL OF THE PRIMAL CLOUD MASS - EACH NOTE FELT -) a week or so back on genre discrepancies on RYM and how you could vote on genres for albums/how people got so dilligently involved in pinning down EXACTLY what a release from an artist was. How at first glance it can seem ridiculous/unnecessary or perhaps lame cause you're sucking the fun out of intrinsic reasoning/enjoyment from music, but when you take the time to actually think about it in hindsight how awesome it can actually be when we're able to scope down (through genres) exactly what we want to hear in our music from various influences due to the dedication people are supplying with this whole (almost OCD- ish in quality) categorizing they've done with genre placement. How if we WANT to hear a song similar to the qualities Beatnik #2 holds, we can pin it down in less than twenty clicks online instead of desperately searching through databases simlar to vinyls in bins at a record store from 15+ years ago to hear exactly what we want now. We haven't reached that point YET - but it's definitely a possibility in the near future for avid music listeners through technological advancement and people willing to sacrifice time for the cause. I bring this all up because Beatnik #2 reminds me of just how much we're endowed with here - how great we have it off with being able to effortlessly listen to nearly WHATEVER we want at any given moment. An endless library of knowledge/music, and how our generation is the first to use it for our own advantage. HOW THIS CAN CHANGE NEARLY EVERYTHING - how EVERYONE should use the resource we're given to it's absolute fullest when learning/appreciate the art behind music - and it's perfect because musical composition has been proven to be heavily apprehended through autodidactism. What exactly does the future of music hold for us if we all collectively push it to it's fullest potential? I wrote a review for this album (re- release) about a year and a half back when I first started really diving deep into Sputnik's database, and sitting here writing this entire thing out it feels as though that was almost a different life or as though it was nearly a life-time ago. So much has changed, but I still connect and recognize myself through what I wrote - Beatnik #2 is the vehicle that allows me to transport directly to that stage in my life for me - the discovery/love of the album - the drive to continue seeking more music in an attempt to relate/understand past what I was capable of at that time - the desire to share it with others - it's such a massive look back, and I normally hate looking at my old work but for some reason or another Beatnik #2 helps me come to terms with being proud/satisfied at that point of my life and where I'm at now (because I continued to drive forward honestly in my own self-discovery), instead of being nostalgic/wishing to jump into the frame of mind I was in while writing it or in shame/neglectful of ever doing it in the first place -- cause I love music! The review is kinda shit though lol go ahead and read it if you want just be warned (reviews are too professional and can normally get booorrinngggg ...fuk lists are more my style). TL;DR A basement and a keyboard can take you (and others) a long way.|| song/album: || mood/vibe: lol you dumb fuking tl;dr'er - succumb 2 me, read what i WROTE bitcch
19Joanna Newsom

Ever since I was a child I had a hunch that you could write music however you wished and it could be fantastic; as long as it came from a fantastic place. Regardless of sound/genre/labels - if it's intent is good, with a dash of creativity and faith.. anything can shine. The trick lies in faith, not only in your music - but in yourself as well. That being the life you've led, the people you've met/your interactions with them), the struggles you've faced/and how you've overcome them, etc. being proud of your decisions, how you hold yourself, and content with your outlook/perspective on life itself. Every small thing adds up, and with the proper amount of dedication to an instrument; that soul will reveal itself throughout what you play if you're intact with it. It's a concept that I feel in this day and age many can still recognize but few choose to act upon or coverse over. One of the most obvious traits of beautiful music, kept on the low - hidden from the public dismissed almost as if it's a secret. I often hear people question, "How did they create such a beautiful melody!??! Where do they find the thought of such a perfect harmony??" Joanna Newsom knows. I know she knows. Within her experience of life and herself. The moment I clicked play on Ys and Emily started, it was almost like an immediate spellbind - I KNEW, I felt her voice - how it was all conceived.. I was instantly in touch with her spirit. Almost as if I personally knew her, I had to stop and make SURE that the album was actually released in 2006 due to the fact that it's so hard to find something this well-recieved and genuine in the modern age we live in. It just breaks free of everything, it's so human and natural - feels like it had absolutely no influence at all. Joanna took her harp into some lush forest one spring, met Bambi/company and then started creating these songs from her own place. Leaves me absolutely speechless how effortlessly they flow, how intact she is with her thoughts and instruments like they are directly intact - embracing each other as each second flies by. Anything that can define it no longer matters, folk? improvisation? chamber? Blasts genre placement completely away - how about Joanna Newsom's Ys? Emotions flood in nearly moment of the song - how her soft voice catches attention from the first second - the slight little trickles that accompany it next to the strums of her harp. 1:11's high strings ascending to sophistication, 1:54's addition of a bass and how the harp starts directing all sorts of new melodies - 2:22 slight halts and chops a bit of tension before weaving graciously to magnify 2:33's strings next to this divine harp playing - 2:57 nodding back to a previous vocal line which was nearly forgotten (due to this song's immense composition) never a tedius moment to an astute listener. 3:21's lyrics roll off her tongue so fluently and with such diction ughh 4:19's whisper along with those strings.. how quickly this song can switch a state of emotion, flipping through various feelings masterfully. 6:02 keeping things interesting through a delay/back- up vocals in her singing - 6:31 to 6:47 how alive the strings are faintly at the back and how they are brought out to zig around in exuberance around 6:55. I love how swells can make everything feel so fresh, how her lyrics make everything feel full and pull out all kinds of images in my mind 9:03 - just listen to how well this all so crafted, like flowing with an essence of new life. Hitting a blue-grass break at 9:36 on that sharp strum of her harp, anything is fair game - so many creative and brilliant ideas - her shriek at 10:39 ...fuk, feeeeel that. FEEL ALL OF THIS, 11:12????? what?!?!?! asiodfjasodjf idk what that even is?? with the clank - clank - clank and deep strums?? Dear, God. Joanna Newsom's Ys is just out of this world. It's a celebration of life. Everything here is magnificent. Like, I come back and back and back.. I don't know when I'll ever be in complete understandment of it's intricacy. The lyrics, I haven't even taken time to allow them to sit within me - although I'm certain there's endless beauty within it all. Only Skin? 2:16???? I mean if I even get started on Only Skin I might never stop. 5:40's atmosphere? 5:57's soaring vocals? Oh my god.. this song is like not even kidding hold on hold your horses I'm about to cry ...fukkkk i mean im gonna cry cause there's just too much here to even sit and write out i hope you feel it dudes please this is such a special ...fuk entry im not even kidding this woman is a gift i love her forever just ................ please listen omfg 11:15 ...plz...omg.up and down wooo woo 13:33 to boom ba boom this is MUSIC, dudes this is IT!!!!!!!! || song/album: || mood/vibe: LOL wow @ nick butler's soundoff relisten my dude. also did i say this is it? cause THIS IS IT!! aspire to be yourself from this/just like joanna newsom "The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason. If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience. I can't understand why people are frightened of new ideas. I'm frightened of the old ones." ~John Cage (my nigga)
18Vikki Jackman, Andrew Chalk, Jean Noel
A Paper Dolls Whisper of Spring

Fragile ambient is my favorite. Initial few listens are always the strongest - not necessarily the first every time.. but once I've become acquainted with the wisp in a melody's texture (the new effect the sound has created) it's appeal can just vanish. It's become strange and somewhat irritating, I've been attempting to find reason as to why it happens for me so frequently in ambience. I have to protect/watch carefully over my favorite releases in this genre because of the issue, they're too sacred to allow even a hint of their qualities to diminish - what Vicki Jackman presents in this release can't just be easily replicated. I'm scared of becoming too close with this release because of the possibility of my enjoyment of it just dissipating. On top of all that, I find it difficult for a good portion of ambient music to stir up much within me. But when it does//// like -here- in A Paper Doll's Whisper of Spring? ...fuk. It took me around nine attempts to reach the third song in this album. NINE ATTEMPTS. Not because of how "boring" or uninterested I was, but due to the fact that it practically tranquilized me every time I laid down and clicked play. Nami is breath-takingly serene. There's this collected sense of peaceful memories, ashes falling from a gray sky, glass-like resonation. Have you ever played Pokemon Ruby/Sapphire? You know that section of the game where you have to collect pieces of ash by walking through the steps of the grass so you can get a flute to wake up a Snorlax (or something similar to that, I'm not sure). There's some Teddiursas as wild Pokemon jumping out at you and lil ninja niggas disguised as grass ready for battle nearly every 10 secs? Man... that's what this first track kinda paints as far as atmosphere goes for me. Or there was this Magic Tree House book I read as a kid with Pompeii/volcanos - they had to escape before time ran out or they would be trapped forever solidified as pumice. Still in time. There was this time where I was in an area of my city I had only once visited before as a child (but this was recently, so like 10 years later) - fog was everywhere and I was just driving lost.. aimlessly wandering for a good while. At the beginning, your heart kind of sinks because you doubt your own instinct/recollection of past events - but slowly it all came back through faith - the entire time I was listening to this release. It was absolutely perfect. Feel that dead silence near the mid-way break in Wandering. Then allow the memory of the melody to recollect itself and take a new form. I'm not going to timestamp this like nearly every other ...fuk. It's just that the ...fuk here is SERIOUSLY what I've always wanted in music - - - THIS specific feeling through ambience - everywhere I looked I would hope for being able to connect to something like this does here - Stars of the Lid, Winged Victory for the Sullen, asoidjfaiosdjfojSIODJF whatever. They never HIT me, I would try to take different approaches but nothing felt like it came naturally as it did here. I'm rambling when I feel I should be describing what this brings out of me but I don't even care anymore - end of story: THIS is a SPECIAL release, there's nothing I can say or do to get you to understand how it feels for me me - all I can say is that if it hooks you, you WILL know. I swear there's some kinda angel spirit being master in Magnolia -- and nearly all the other tracks as well. EVERYTHING feels placed properly, is this accidentally a 5/5? OR DO THEY KNOW what they're up TO?? I swear it's deliberate, every expanding note - drifts are so seamless. To achieve this type of peaceful coherence ...fukkkk - THEN TO BE ABLE TO PROPERLY CONVEY IT THROUGH SOUND??? I'm not sure anymore, can't over-think this.. wait yeah i can (especially when listening) but that's not how it really gets you. Wow, Whispers is ...fuk. There's no deadline here. No criteria needs to be met. Everything is still. Relax, empty your mind - let it float, carry you off into this magical motha motha wind-y shrine heaven of tranquility and just sit there in thought and appreciation forever. One of those occurences in listening where it's better as a speaker/sorrounding listen, altough headphones are still fine as well. I hope these memories never fade. || song/album: NOT ON YOUTUBE :" ( || mood/vibe: secret/magic/soft/ambient/airy recs please
17Kate Bush
The Dreaming

There was a point last year where if I didn't hear Kate Bush's The Dreaming I would head into withdrawals. Her MUSIC is :'). I'm not about sitting down and worshipping documentaries/interviews, getting WAY too much info/personal business on an artist anymore but back when I cared about all of that stuff KATE BUSH was my calling. I did that non-stop, listening to Kate Bush's discography became a career. The best part about this beautiful woman's music is that I pulled my close friend that I mentioned from Broken Social Scene's "You Forgot It In People" ...fuk entry into discovering her as well. We wanted to find female artists because it seemed as though it was an area which he hadn't explored thorougly yet. Went through Patti Smith, St. Vincent, Avril Levigne, Demi Levato idk a ton of cool rocker girls rock on chicks you get the idea (Patti Smith's Horses is sick). He was OBSESSED with Patti Smith and although I thought she was prettyyy coool I wanted something that I could personally connect to a bit more. THE DREAMING was that answer and it destroyed me. Skeptical at first, but after he gave her stuff a few listens it was basically head over heels for Kate Bush nonstop every waking moment of our lives. I can't even count the amount of times we listened to this album, The Kick Inside and Hounds and Love on REPEAT while both of us were dead silent. It kinda became a joke how insane we were over her, I remember walking into his house.. not saying a single word, opening his laptop and searching "Kate Bush" into google under images then him immediately coming over as we both just sat in awe of her BEAUTY. Lasted like four good minutes before starting to laugh and idk talking about her etc, we convinced ourselves that we couldn't fantasize about Kate Bush - no one could - because of how holy she was. Protect Kate Bush at all costs. Too much fun.The album has worn off me with time/infinite repetition, but it still holds that initial magic. Sat In Your Lap's comment section though lol everyone thinks she's so cRAzZyzyzYZYYy and worshipping her off of that nahhh Kate Bush is definitely sane just being unique/killing it like none other dudes. The EIGHTIES hooooly craapp when being "CRAZzzyYYY" was cool ugh what has happened nooo okay f that im gonna jam Sat In Your Lap check out this flare/spice "OHH a OHHH" shake shake shake/bounce bounce bounce. Nice lyrics, "Just when I think I'm king, I just begin!" wow same that happens to me all the time let's keep on learning together kate bush life is wonderful huh kate bush okay same about the first line too and working :'( ugh i just wanna do what i want. "I want to be a lawyer, I want to be a scholar. But I really can't be bothered. Ooh, just gimme it quick, gimme it. Gimme gimme gimme" - [23492909] well looks like you became a musician instead Kate Bush and you're real good at it too so ...fukkkkkkk. The rushing anticipation near the end of this song is wag. There Goes A Tenner is wag too check out that magical magic magic magic moment that comes outta nowhere at :44 ...fukkkk. Pull Out the Pin ohhh mannnn that guitar is like !!!!!! then "I LOVE LIIIIIFE - I LOVE LIIFEEEEEE" especially the last ones just when you think she won't do it again she does it with such passion xoxoxo kate bush ...FUkkkkkKKkkk cool story about war i love you kate bush. Suspended In Gaffa is one of the happiest songs ever made basically so yeah there you go it also pioneered panda bear purple bottle drum play in '82 sweet omg :49 bass/strings -- this CHORUS is WAYYYY too good... "i don't know whyyy im crying" lalalalalala i love kate bush i love kate bush there's so many GOOD things in these songs but im not gonna get too intense on ...fuks here cause Kate is special you should definitely check her out if you don't have a gf or something. Leave It Open's :57 effects on those voice eek! this is like some voodoo/mumbo jumbo of a jam but the coolest part is definitely around 1:55 y'know where she starts like trying to hawk up some mucus/spit from her throat while those backup vocals and it gets all EWWWW but wicked awesome especially that drumming omg check out 2:03 ...fukk "HAAAWW HAWW huhh uhh" then that tribal scream LOL "HIYAAAA HIYAAA HIYAAA" wow animal collective before animal collective kate bush channeled it along with the tammy's egyptian shumba nice also wtf is that ending lol am i being cursed oh well who cares it's kate bush right she means no harm what a good lady she wouldn't do that backwards playing STAIRWAY TO HEAVEN conspiracy sstuff ? b??t ? w ? it has to do with lyrics i think or maybe i know??? bbut maybe im wrong?? hehehe look into it you lazy nig. the dreaming is title track into a highway filled with sheep and idk there's no real ...fuk here but it sure does sound cool if you're into this kinda louisiana swamp hexing stuff from time to time. to be honest LOL i think my fav part of that song is trying to distinguish what the HELL that dude says at 3:52 after those birds chirp (omg the swallow?!?!?) the NIGHT OF THE SWALLOW here it comes bros 4:07 omg LOL TITANIC vibes alright kate bush you were pioneering titanic too wow so many niggas ripped your swag this is incredible that guitar/harmonica (???) is ...FUKKK.. DUN! *piano* DUN! "THE NIIIIIIIIIIIIIIIGHT" ...fukkkk aosdfjpasdfjpo this is so majestic kate u r divine kate this is all cool especially those drums at 1:29 or whatever but 1:40 IS YEAHHHHHHHH woooOOOOooOOOO lmao i can't think of that intstrument atm oh wait i think it's a high pitched bagpipe?? this has scottish/irish vibes written all over it hmm alright basically this song just keeps doing the same stuff but it never gets old 3:41 "give me a break, something to show for my miserable life" part is majorly effective ...fukkkk. All of the Love is being drawn up/whisped out like sm0k those breath-in/exhale out samples are cool plus her voice control idk the atmosphere is more impressive here compared to a specific moment but the "bye. cya! goodbye. i'll see you soon" hang up from phone samples are eerily romantic *exhales* ...fuk. HOUDINI awww omg :') that piano and the "TAMBOURINE's jingle jangle" *you hear the shaking of a tambourine in back* :26 ...fuk "i want this mannn to go away nowwww" :43 mystical ...fuk man i feel as though i know the instruments used there for that but i can't pin em :/ oh well anyways this song's structure is all kinda of creative that violin just coming in out of nowhere at 1:01 and kinda narrating the progression as if it's a stageplay 1:47 wowww 1:53s strings ugh i wish i knew more music theory/vocabulary but actually i dont care i would only use it for ...fuk descriptions hmm or maybe playing but yeah this song just rules it flows into GET OUT OF MY HOUSE perfectly. alright GET OUT OF MY HOUSE is the ...fuking ...FUK of a lifetime blending all kindsa cool The Shining/break-up ideas into one mix of a kate bush jam. Love the tribe drums of course and the cool effect on the guitar/piano oh and "HEEE HAWWWWW EEEEE AWWWW" lol yeah...fuk but OKAY i want you to listen closely at :24 what in the ...FUKKK is that!?!? like man that sounded good nice kate bush again faintly at :38. :46 is prob the most ear- catching moment until the end (lol) idk it's just a snag from a normal rhythm so ...fuk yep god this song kinda feels like you're in a stalagimite cavern with that synth stuff going on i mentioned at :24 blotched around/lots of depth 1:49 "FULLA FULLA FULLA FAITHHH" fervent kate bush = don't mess. vocals on this are just unreal 2:19 starts some REAL power like GET .. OUT .. 2:37 ..fukkk but nah the true one is starting at 2:47 and climaxing at like that mid second of 2:51/2:52 ...FUKKKKKKKK then that guitar !!!! asoifdjasdfoija nIICEEEE screams in the back and that LMAO donkey training creepy circus gypsy whisper dude popping up and whispering secrets okay here it comes, for true kate fans ONLY .. yell it... YELL IT.. "HEEE-HAAAAWWWWW HEEE-HAWWWWWWWWW" "HEEEE HAWWW HEEEE HAWWWWWW HEEEE HAWWW" 4:44 starts a cool chant too but man this album is DONE dudes kate just put her foot down what a woman wow i love her i love you all 5/5 forever in life - will carry everywhere type of album. it's not as lovey/warm as hounds but it's got that experimental kate's going all in cause she understands music now and she's all grown up ready to jam hard both in and out of the studio kinda vibe. detail detail detail until perfection which is the type of sounds ethos is all about. "HEEEE HAWWWWWWWWWWWW!!!!!" || song/album: || mood/vibe: i swear i was about to pack my flags and fly to that upcoming show in london but ugh the funds must be used for camping in this house instead, LOVE U KATE .. love u IRE.. RIP hounds of love thread... u will be missed

"And you're sitting at home doing this shit? I should be earning a medal for this - stop fuckin' around and be a man, there ain't nothing' out here for you." Sixteen was fun. Start of my Junior year in high school, was getting accustomed with how things ran there. At home, there was barely anything going on - parents didn't have enough money to let me rent a car; and most of my friends were either out working to pay off that car their parents got for them or out with their girl. So much time, but no-one was ever around to do anything with. I needed a new-type of challenge, school was starting to bore me - something competitive that I could do with absolutely anyone whether it be my best-friend of my little brother. I was heavily into music, HEAVILY - probably some of my favorite releases to this day were explored around that time. For some reason though, the idea of starting up a band or anything along those lines never ran about in my head. Had no friends into sounds similar to me, despite trying to spark up conversation about music - every single time it felt as if I was alone. On top of that, I had to keep my grades up and my parents were strict as shit. There was no real opportunity aside from solo stuff, plus I didn't have any source of revenue to purchase anything. Leaving the house to go do something as is was already way too much of a struggle - heading out to practice w/ a band? Out of the question. I don't know exactly what drew me into it but Smash seemed like it was always prevalent throughout my life. Just around the period where I found Nas' Illmatic all of this was going on. Riding the bus to school and thinking to myself how flawless the entire album was, it was one of the few releases in hip-hop that I felt as though had no weak track. Super Smash Bros. Brawl was released my sophomore year and I had already been playing it for a year but something within me never gave up the same determination I had upon it's debut - it was as if I had something in me that constantly wanted to improve naturally, it was too much fun. I had to be the best. Every single day I came home from school from jamming Illmatic, doing absolutely anything I could to pick up a Gamecube controller and grind the game along with my friends. I went out of my way to find more people to learn from, I started talking to people at my schools, getting my block into the game. We all created small "crews" that would vs. each other every other day to rank each other - we created competition and had so much fun it. It was all I thought I about, the game became a kind of alternate reality - I lived another life through Smash. The determination paid off, it got to a point where I had no other competitors due to how much I had improved. Off of a hunch, I went to the next place that could pose more of a threat; the Internet. I'll never forget searching, "Super Smash Bros. Tournament - Houston TX" and having my mind completely blown. There were people ALL AROUND the WORLD playing this game, all ages - with the same goal as me. Like twenty five major tournaments in my OWN city had already been played out - so many thoughts raced through my mind.. so many possibilities - I was so far behind, but it wasn't going to hold me back. "The World Is Yours, The World Is Yours - It's mine, it's mine, it's mine.. who's world is this?" Immediately ran to my parents and pleaded to be driven to a tournament. Dad was too strict, wasn't going to happen. I created a Smashboards account (the website I found that held absolutely everything Smash related), I started talking to members of the community - trying to figure out how I could join the competition and make something for myself. There was so much desire - it felt like I was being caged up, waiting to just PROVE my worth, jump out on the scene and start tearing shit up. I wanted to get in that N.Y. State of Mind, "Hand me a Smith and Wesson I'll have niggas undressin.". The samples used in The Genesis were running throughout my mind every single second as I sat at home grinding on my craft, just waiting for the right moment. It felt like the strangest fate, the absolute LAST thing I expected to happen and the LAST thing I wanted to. My Dad started getting out of hand, his violence and strictness were too overbearing. At every moment it seemed as if my parents were arguing, it got terrible. I didn't think their relationship would last, nobody did. The first day of summer I begged my father to head over to my Uncle's house and hang out with my cousins/help my Uncle fix his computer (I knew a good bit about computers at a younger age from just tinkering/messing with them as a kid) - but my Dad wasn't having it.. I couldn't go. I got kinda pissed, because I couldn't see his reasoning; I was going to HELP him and hang out with family. My mom raised her voice/confronted his decision and my Dad attacked her, my Uncle had to break up the fight and the police got involved. Arrested my Dad and threw him in jail for three months. This may sound kinda cold, but at that moment it felt as if my ENTIRE life had started - the cage penting me up was opened. I could do ANYTHING, he was no longer there to tell me "no". The first opportunity a tournament for Smash popped up I GRABBED it. Friends drove me to HOBO 25 (Houston's Official Brawl Organization). I found that in the competitive fighting game community no- one goes under their actual birth name - everything is a pseudonym. Something that they feel as though defines them when they compete. That people can yell out and they feel as though sits well, what they would want to be called if their name wasn't "Allan"/"Christian" or whatever. It immediately came to mind, it was absolutely PERFECT. How hazy it's definition was; but how good it felt to hear, the mood it held, how aesthetically pleasing it looked written on paper and most importantly how I related to it at the time - Nas' story, I wanted to relive THAT in my own way. After handing the tournament organizer a $20 and hearing him question, "What's your name, man?" I responded with absolute certainty the only thing in my mind that made complete sense, "Illmatic". / / The tournament was HOT as hell, didn't care. 102 degrees with no working air conditioning. I was younger than nearly everyone at the venue, didn't care either. Bodied nearly everyone I played and placed 8th out of 64 players with a "mid tier" character/Peach (as I was informed). People got mad hyped and wanted me back for more tournaments in the future, "who's this kid?" - "why is he posing a threat?". I wanted to come back and place even better before, I knew I could - in the back of my mind my Dad returning and all the experience permanently dissapearing scared me to no end. Regardless, I kept going back.. it was the only opportunity I had. Once my Dad returned it was basically accepted that what I did brought me 1) Money and 2) Friends outside of school, it helped me mature as a person and gave me a new past-time. People who knew about Nas recognized my name and I instantly gained friends who were passionate about music in the same fashion I was. I continued playing smash and went out nearly every weeked to any tournament I could attend. I flew across the nation to NY, travelled across Texas on countless amounts of carpools. Friends from across the country would meet up in Houston and chill/practice at any given time. With an insane amount of determination/drive I became the best player in the world with Peach - beating all sorts of top players and standing out as a legitimate threat to nearly any player in a national tournament setting. Altogether in my career I more than likely made around $3,000, (putting up bets/placing in tournaments) but it wasn't about that - it was more about proving to myself that I could set out to do something that I genuninely loved. The passion for the game died shortly after I achieved everything I wanted to do, but the friends I made from it stayed. In fact, I'm currently LIVING with them now - they're practically my second family. Smash/Illmatic in general bestowed so many new opportunities and insight into new fields of my life that I more than likely would have never discovered had it not been for their existence. "I switched my motto -- instead of sayin fuck tomorrow, that buck that bought a bottle could've struck the lotto. Once I stood on the block, loose cracks produce stacks, I cooked up and cut small pieces to get my loot back. Time is Illmatic keep static like wool fabric, pack a four-matic that crack your whole cabbage." My absolute favorite verse from the album and pretty much any from hip-hop in general. It's these moments that sum up what Illmatic means to me. I turned 20 three months ago, four years have passed since I first joined the Smash scene. The NEXT Smash installment is on the horizon/I think about these words nearly every week and how I first related to them. That constant push, never letting up your drive regardless of your environment or situation - sieze the first opportunity you get and run with it. Make the best out of absolutely everything you come in contact with. That use of your time is Illmatic, I'm sparking it back up w/ the upcoming Smash and have been edging to make it as apparent as possible in the process of the music I started creating. Never forgetting. Only time will tell what comes of it, "Oh yes there is, this." || song/album: || mood/vibe: Reading your opponent. Similar to music, Smash taught me a new logical perspective on instinct and intuition. Being thrown an infinite amount of variables and being able to choose or "predict" what will come next with utmost certainty based off of prior experience or innate reasoning. If you're interested, here are two combo vids that were created throughout my
15Heat Wave
I'm Fuckin You Tonight

Recall my relationship with the Paul Wall chopped and screwed bonus disc I mentioned way back in this list. How the genre hooked me with it's viscous textures/experimental nature as a kid/I felt like the genre was destined for an immense amount of growth.. there was so many unique qualities to it that no other kind of music carried, how addictive it was sonically - the delay, double-up kinda effects it brought, creeping repetition infused with deep grooves for something to ride out and pay keen attention to while still being swooped off by the immense/lush atmosphere. When I was younger, I naturally thought the genre was just like any other: in that there were thousands of artists out there etching away at the same kind of sound that was brought to me by Paul Wall's bonus disc. Wikipedia/Limewire/Mediafire brought me to UGK, Chamillionaire, DJ Screw, Boss Hog Outlawz, Pimp C, etc etc as I grew older and started expanding out - attempting to discover more. It was all great, but at the back of my mind I couldn't help but feel as though the genre was 'gimmicky', not in the sense that it was poorly executed (although a large amount of what was available was sorta lazy in composition) - but more because I always felt as though the style was always used to draw attention instead of being exclusively focused on as it's own entity. It was insanely rare to find one release that wasn't driven by heavy sampling of a chop/screwed track, shortly followed by just a regular run of the mill hip-hop single. Back forth, back forth - every other track usually had some kind of chopped element but there was never something really "out there" or on it's own --> I desperately wanted something ONLY doing chopped/screwed while still bringing in a new beat or melody that no one had heard before to it's songs - not just the mixing of a tape that had already been released prior to it with chopped/screwed elements. Time passed with no avail and I started neglecting the genre, passing it off as an "it exists as is" kind of thing and branched out into other fields of music for a good while. Until I just so happened to stumble upon the artist named Heat Wave. When I heard the swishes from the intro, I knew. Man.. I'm getting bored of writing like this - Alright, enough of this personal shit - let's get straight to the ...fuks. Peep that absolutely gorgeous opener - HEAT from the start, speakers/headphones crackling from the get-go - they're about to melt in your ears. We've got some deep glass-like resonation in the back, trailing off of a kinda engaging/trickling beat with chimes bringing a slight sense of psychedlia. Element of water's real apparent here, you're just wish-washing away here nigga, laying down chillin' on the side of splashtown's lazy river. Off the front we hear, "Oooooohhhhhhh" ...... "Ooooooohhhhhh" I swear to God if your bass setting are set properly for the following seconds of this album - you'll never forget the first time this ...fuk hits. We get some indecipherable lyrics (unless you're from Houston) for a bit, just still trailing - trying to engage you/set up this massive hook that's coming. THEN IT COMES. - - - 3 : 2 8 - - - "Anddd I've been waiting for you right there, babe ??? I've been waiting ??? like crazy ????" BMMMMMMMMMMM bmmmMMMMMMM - ...FUKKKKKKKK!!!!!!!!!! That hook! The bass @____@ / all the swishing - chimes - cutting - wag wag wag. This is it!!! THIS IS WHAT ETHOS PUT ON HIS CHRISTMAS LIST ALL THOSE YEARS. IT'S BEEN FOUND!!! There's this quality to this portion of the song, it's pulling you downnnn so deeeep and it's sooo GOOOD. Just VIBE IT out for the next two minutes - pay keen attention to the running water, how the chime reverses + skips, the lyrics trip/stumble - kinda sounds like someone's squeezing the juice out of the ripest orange ever picked right in your ears -- -- 6:02 is sickkkk - real fast back forth/back forth then let the pitch of the deep vocals yell... 6:54?? all they're doing is progressing the vocal hook of the song and it somehow becomes magical - then it all kinda winds down... bass resonating wayyyy lowww 7:25 sounds like a massive WAVE hitting you right in the face dude AhHHHhHH you're just spinning around underwater near the beach NOOOoooo X__X (don't worry, you're about to recover). b00m, already in that 8:55 section which is soo ...fuk. Cruising down a street full of palm trees on a sunny day with the windows and roof down sippin' that lean and when that jumbo nigga beat creeps in at 10:34 i guarantee you'll start bobbing - we're just vibing, SPARKLINNNN "don't stopppp, don't stoppp" this part's too coool "makingggg luv 2 u" ding da wa woop wap wap DUN DUN man that jumbo nigga bass beat is back and WTF is going on with all this carbonation?!??! YEAHHHHH --- alright -- INTERMISSION -- 15:05 we're just tinkering with a little beat trying to get something started here and BNNNNNGGGG BNNGGGGGGGG BNNNGGGG boop ba woop wop *hissing in the back* wow, that was cool -- alright it's over that was sick good job heat wave, hmm what's next?? Some kinda tropical vibes again but this time soul vocals male and female alright i can dig it i'll just sit engaged and kinda reminensce of what exactly just happened to me ...oh wait it's already over... ...fuk i kinda dug that - wait.. here comes the TITLE TRACK section AT 18:38 "im fuckinngg you toniighttt" bmMMMMMM brr brrrrRRRR omfg Heat Wave uses EVERYTHING in this section masterfully but when we hit cuddly/late night sex sample at 20:42 and that glow just sits behind his voice at 20:46 "let me take you to the stooooore" you are downright ...FUK'D this reminds me so much of the days when i used to play runescape/high alch yew long LOL can any brothas out there relate - anyways, yeah fav part for sure and it's showcased twice so you know Heat Wave was feeling it too (does anyone know what this sfx is called for editing??) chimes jangle in the back across zaps/globbing/whisks and you're certainly ...fuk'd 2 night :' ) || song/album: not on youtube, dudes shoutbox me for a link || mood/vibe: I don't owe you nothing, you don't owe me nothing. Know what I'm saying?, LEAN, chill, $$$$$ $$$$, Havey September 20th 2013 fuck me in the ass and call me a towelhead this album rules
14Vladislav Delay

i'll let you read into my convo (lol) with claudio for this one, "it sucks cause i feel like i barely have anyone to talk to about music anymore. it's not going to change my personality or anything and i don't blame others cause it's more of an experience/something that is felt - but a type of transcendence or "trip" through sound is what i'm more into now i guess? which is why i suppose most people who share that enjoyment out of music wouldn't want to discuss it heavily - their own reasoning behind liking it may be vastly different than another's due to just how severely personal the record actually is. but i just love hearing stuff like that from people who are genuine about their enjoyment in music, even if i don't share the same insight. everyone is usually so pent up about their own expression - or they just don't appreciate what's being presented in the same light i/others do (which isn't a problem, but i prefer hearing why people love something opposed to why they hate it). i just feel as though im kinda on the opposite scale of that, i always wanna share experiences. anima is so disgustingly reflective too, like a dive into one's own psyche in an effort to gain a heightened sense of spirituality. ugh i don't even want to begin talking about the sounds cause i might sound crazy/misunderstood but how vladislav always has you second guessing what's coming next - or how he implies a bit is about to happen, but you just have to guess on your own intuition. like it doesn't care about the norm in how individuals normally approach sound, it exists as is - in a constant oscillation- and never falters from you're initial engagement with it. i think my favorite part are those moments around 35:28, i don't even know how to begin putting words to those types of sounds but that whole portion had me raked up almost in tears. it all feels so distant and lush, no mark on a specific point in time can be placed on it - infinite, and you're just peering in for an hour's listen to catch a glimpse of it's immensity. i love the ending so much, how the splashing wakes him up - similar to how one would after a "healing" deep sleep that seems to last forever, how water can shock you back into reality. then how he just sits and cries to the woman who is coping with him - reassuring that he's safe after it's all over, "i can't pretend anymore. i might never go to sleep again, i might stay awake forever" as if anima had put him locked under it's spell for his own growth, he's come out refreshed like a baptism. he begins to view things how they naturally are - his own life included and he wants to make an effort to be more sincere/genuine. i've NEVER sat in silence after listening to an album before but today i listened to anima entirely - completely locked/astonished in nearly every moment - it physically affected me, like some points had me experiencing involuntary cringes or sudden jolts from how powerful the music felt. was insane. this is the kind of stuff where just leave when it starts and come back when it ends. i bet it would sound real good laying on the ground or within an enclosed space at a proper volume. i wanna mess with it more... i can't believe it exists, i could barely even talk after listening. everything felt renewed and day-to- day sounds were so sharp, seperated and clear. and the way the album starts, it's almost as if the man knows anima is approaching, like there's some sort of individual preparation beforehand. how he has to go into it empty or hollow - "are you ready?" - undeniably intense and imaginative. so yeah, basically thanks for making pornhubby hehehe" || song/album: don't listen to this here. find a download/purchase it and the proper time. || mood/vibe: Anima
13Animal Collective
Here Comes the Indian

Rowan's "Favourite Moments In Music" list is gonna inspire this one. Was having a pretty shitty day/mind in terrible places all throughout the night without being able to sleep. Turned on my laptop to try and get my mind off of things when I stumbled across his list. Triggered an immediate jolt of understanding/energy and inspiration to finish this. Mind's racing in all the proper places now trying to escape the previous murk it was in. I'll never know which Animal Collective release is my definite favorite, but tonight it's undoubtedly Here Comes the Indian. It was the first ...fuk that shot to my mind after reading his list. This energy sits deep within me, that racing gallop that Panda Bear opens the album up with on Native Belle - Here Comes the Indian elicits it all out. I need to move. I want to go outside to run and yell. This is the perfect album for restless nights, tonight's that perfectly aligned listen. Drums rolling in heavily against a wall and crashing to a halt/Avey screeching reverb into a mic mimicing the stops - feels as if there's some wicked type of hexing going on here, scenes of cult-like images dance throughout my mind around a glowing fire. It all feels so uncertain and jumbled, gongs clashing/screams releasing stress - anxious to pull up a certain type of ritual - as if after it's rites are performed correctly (creating this music) everything will go back to normal. Native Belle's finest ...fuk is when Avey's voice is altered to a type of party rattle effect yelling, "There are picnic days a-pushing me pushing me - A PUSHING ME" and the pitch plummets into a, "aannnddd it's OV-E - R R R" into "AHHHHHHHHHH-- HH H HH ahhh HH H H H" as if they're all being shaken up by spirits or demonic presences of the forest - they're being driven off not only their own madness but off of a spiritual presence as well. You hear Panda in the back yelling chants as an abrasive ringing effect is being used to keep it all rebounding. Panda's gallops continues into Hey Light so the three song suite NEVER hints at a loss of speed, shrieking and yelling pick back up as well as the volume of the drum kit to keep all the energy trapped within the space their summoning up at a constant. Undeniably feral and chaotic, anything that tries to escape will be caught. A distant hum is heard within the back that grows as the song progresses with sharpness underneath the cries and then Geologist flicks some sort of noise switch that sends a blinding hue of purple/blue light from above beaming down into the forest's environment at 1:22 bringing light into their sorroundings, casting shadows flickering across their faces - pulling out all the life from within the forest and themselves as the stampede continues ...fuk, "HEYYYYY LIGHTTTTTTTTTTT hit the CURTAINNN ROOOOOM - hit that BED TIME SUIITTT, they'll be OUT WALKINNGGG". Crashing into a childish babble and a high stringed guitar attempting to mimic the melody but stumbling. There's sobbing heard in the midst of it all and acidic/watered down echos before heading into a sullen/gloomy celebration of pattered down claps/imitatations a dog's whimper, "h-h-hhe-eyyy l-i- igh-ht, i can w-e-ar-rr-r my moccas-s-sins.. y-o-ouu have m-aa-aaad-e me sm-il- le agaaaain, there is n-o-ot-h-hing l-li-i-ik-e- it-t-t WERRRERERRR whuUUUUuuuuuurrrherrr" ...fuk. Infant Dressing Table's entire purpose is for the setup that leads to Panic. I picture the ritual pulling through and this glowing orb lifting up from swampy grass next to a lake trying to bring forth idk ghost boy or somet kinda presence. The texture/ambience here is an undeniable ...fuk, heavy pulsing - quacking ducks/sheep baa'ing/frogs ribbiting. All of it stacks on top of each other as the song progresses and the humming calls your body to drag through it all. On a first trip into the album's depth it's quite easy for your mind to stumble or become lost within it's complexity (but imo, that's kinda the best way to experience it). The final two minutes bring in chaotic bliss of synth manipulation and spliced howls/chants. Right when you're ...fuk'd at just the proper sweet spot of noise and melody, heart beating at an already insane rate.. Animal Collective pulls and winds everything down before JUMPING out from behind a tree and allowing you to shit your ...fuking pants right there on the spot with a frightening howl from your first acquaintance with The Indian. I was laying underneath my covers at 3 AM on my first listen when I hit that moment and I nearly died. If you hit that spike at just the right angle from which The Indian hops out to greet you I doubt you'll find a more "Panic-y" moment throughout music for a good while ...fuk. A runny/slithering melody from Avey's voice brings Panic down to a "tolerable" level that ...fuks in a Here Comes the Indian kind of way before heading into Two Sails On A Sound. Which feels similar to like that Rhino in the sky from James and The Giant Peach approaching through clouds in a storm but far more comforting 6:55 ...fuk 7:06's introduction of that looped synth asiodjfaosijf, i love this track so much. there's just this real gentle quality about it behind all the noise ...fuk. UHH OHHH the GALLOP'S BACKKKK wtff IS Avey SAYING lmaooo then the music jump off into some nursery celebration with sampled (horns?) - the random entrance of the energy on this track along with Panda's steady pounding off the switch at :45 is so much fun. :55 "my myes clooooseeeed" ...fukkkkk _ stop/repeat - stop/repeat - the way this song keeps it's energy just through replaying the same phrases along with different blaring effects/AMPLIFICATION over and over again is massive spurts of energy for me - anddddd "see my flowinngg hair and makes those chaaanges with my eyessss CLOOOSEED" with a final "waahhhh TAAAAAAAAA" before abandoning all noise and becoming a stripped down festive/third world incantation at 1:53 ...fukkkkk. jump around/clap your hands idk what for but it's fun so hey ...fuk and wtf is that a melody from before way in the back?? Too Soon is where all the energy exhausts itself out. Parts feel like duck-calls while Panda's twitching drums disperse throughout the room and Avey finds some kinda flair and picks the whole room up despite having no energy. That guitar's effects on 2:22 and 2:24 next to a water trickle then a slight hint of bouncing up before "LAA-dA-lAAA-la-DAAA dUH doo ba ba BAHH" ...fuk. This idea is expressed a few more times before hitting off into 5:39 where Avey repeats "Too Sooon, Tooo Sooon" as Here Comes the Indian carries itself away back from where it came. That was fun. Alright, I'm back to myself again. Time to go to sleep. || song/album: || mood/vibe: In the run-up to the recording session, the members experienced a challenging time. After difficulties on tour and within the band, member Brian Weitz (Geologist) had decided to leave the band for one year to visit graduate school in Arizona. According to him, the recording was "the absolute heart of that darkness ... That?s why the album?s so hectic and chaotic. It was trying to shove all this weird energy into one recording." omg sp00ky
OK Computer

There's an "OK Computer Limited Edition" plaque hung up against my wall that I've taken everywhere I've lived for the past two years. Kinda corny but my friend gave it to me for my 18th birthday as a present, and it's pretty significant to me so I take it along. Throughout discovering music we all have albums we like, we love, we become obsessed with - addictive kind of albums that maybe interest our mind with how they present a new idea for a good two weeks/month (or more) before moving on to something else. But within many of us there lies a spot where albums are no longer normally listened to but rather lived. I first heard OK Computer when I was fifteen, running to my neighborhoods nearest pharmacy to buy a Nexon gift card (Maplestory lol) for my brother and I. It's funny how you can remember almost any significant album in your life and almost any listen where you've heard it (especially the first). I guess it's just how impactful sounds can be with your emotion/memory - similar to how smells will evict them out as well, your senses are pretty cool. Anyways, yeah... from that first moment I heard OK Computer through my Bose headphones running beside traffic on the grass w/ no sidewalk for a video game it became my life. I remember how cool it was, how significantly different it felt to hear compared to everything else. Airbag felt so layered and full, like a breath of fresh air. I felt like there was something caught within my veins running to CVS that day - something cool and icy flowing all throughout me. An instant rebirth/rejuvenation, an immortality - looking back it's all so ironic because Airbag's lyrics are SPECIFICALLY written with the same context but it's how I genuinely felt. Once I picked up the Nexon cards from CVS I ran back home and repeated the album, it became a drug. Told my brother immediately about it when I got home, we listened to it together - he was kinda putoff by it all but I was so certain that it was going to change my life. I logged onto Maplestory, created a new account and named it OKCornputer (spaces weren't allowed in names and someone already had OKComputer - so I had to use a lowercase R + N). From that point on, it became worship. It was the first album I truly loved with every bit of my body. Magic. Every single chance I got to pitch it to someone to hear, I would throw it their way. I made a bunch of burned CDs and gave it to friends. I created a mediafire account and dished it out to friends digitially. I linked songs specifically over Youtube to friends who were more into singles. OK Computer, OK Computer, OK Computer. I wasn't ashamed of it either, in fact I was pretty oblivious to how absolutely insane I got over it. My friends subtly screwed with me, "Hey, man - did you listen to OK Computer today?". Or they would name their Xbox accounts OK Computer77, call me at midnight asking if I could come over and listen to OK Computer with them, etc. All sorts of stupid/funny shit, they laughed at me a lot about it and I got it - but it was all good fun. Still didn't stop worshipping OK Computer. Didn't know lyric sites existed, wrote down the lyrics in a notepad and tried figuring them out. Would write out my favorite moments of songs (similar to this lol) and just try to unravel it all, it was so much fun. Today? OK Computer rarely stirs up anything within me. I don't know specifically remember when it first started happening, but it hasn't been too long. Let Down's climax won't have me near tears, Paranoid's "rain down" section barely makes a mark - Climbing Up the Walls sounds nowhere near the elements paranoia/anxiety that it first held, No Suprises seems far too long/melancholic and The Tourist ends almost like any other album. The day I never conceived of happening at a younger age has arrived. But I'm not upset, and I still love OK Computer. Even moreso now than those countless listens up to the point where it started wearing off me. Because maybe I'm not supposed to connect to it anymore. It marks the beginning, I exhausted it to it's absolute fullest. Album's can't grow with you - they can only give every ounce of creativity/emotion within it before puttering out. I recognize this and still stand behind it. We all go through musical phases in our own way, through Radiohead's musical genius/dedication they were able to produce THIS. The album heralded by the public as the "Greatest of All Time" in various sources throughout the internet. I don't believe in "best albums" or "greatest lists" but I do believe in albums that connect to an individual and stir up something so massive emotionally within them that they want to spread it's joy to others. That's what OK Computer marks for me now. A musical period throughout our humanity where we were all in such a close relationship with one another. We understood what we wanted and achieved it. 1997, right before the dawn of the age of the internet - before you could avoid physical human interaction and making a living off of it or go to a search engine instead of calling a friend. Before emotions and conversations were castrated and neutered, disguised through a presentation status or photo feed. Before our self-worth and personalities were depicted through an amount of likes/views or hearing your favorite band required getting up and seeing them live/walking to your nearest record store and getting to know someone with similar interests in an attempt to purchase your favorite band's work. OK Computer was born then. Something within the human soul yearns for that period of time in music, the height of public relationship/emotional understanding on a wide scale. Radiohead's magnum opus warned us of our age today and now ironically sits atop all of our efforts ranked at number one as a reminder. Radiohead sacrificed a marginal portion of their early life and dedicated it towards music. They went out and understood not only themselves but their community/environment and presented it in such a brilliantly clever fashion (music) that nearly anyone could pick it up and begin to come to terms with their outlook and stance on the public. The 90s was filled to the brim with communication. Art was endorsed and supported instead of replaced with "16 and Pregnant" on MTV. OK Computer is magnificent because it encompasses all of that, it's very definition is what we deemed to indulge ourselves in as a form of entertainment. I've gone through a countless number of favorite songs on the album, at first it was Paranoid Android.. switched to Exit Music, switched to Let Down - then finally switching to Airbag within the past six months. I can't help but get the feeling that Airbag will remain the personal favorite permanently now. There's something about the way it starts, sometimes I hear it and like a flash - I'm immediately transported to that first listen in the run I made to CVS - enjoying every song to it's fullest just as before... And those lyrics crack a slight grin - seeming prophetically hopeful, "In the next world war, in a jack kniffed juggernaut. I am born again. In a deep, deep sleep of the innocent, I am born again. In an interstellar burst.. I am back to save the universe" Who's willing to be born again? Who's left willing to use the infinite amount of resources given to reach the heightened state of music/life Radiohead achieved and save the universe? At almost 20 years past it's release, who's left willing to create an OK Computer 2? || song/album: || mood/vibe: Btw, I got to level 200 on that Maplestory account ( not that it is anything to BRAG about but still i had fun then hehe. Also, this LOL: - oh and THIS again: - I LOVE RADIOHEAD
11The Pharcyde
Bizarre Ride II the Pharcyde

THE PHARCYYYYYDEEEE!!!@@@@ It's JIGGA-BOO TIIME. It'SSS JiGGAAA BOOOO- TIIIMEEE! Off the bat, this one just blew me completely away. I don't see how you can't enjoy an album like this... especialllyyyyy considering that lounge-groove jazz session they set you up with before scratching the table a bit and heading into OHHHHHHHH SHIIITTTTTTT. The kind of hip-hop you can play under ANY condition and it'll deliver, party? PHARCYDE. Chillin' writing ...fuk 2? PHARCYDE. getting mad sm0k'd??? PHARCYDE. messaging yo niggas on fb/rym??? PHARCYYYYDE. Shooting hoops at the local park??? PHARCYDE PHARCYDE PHARCYDE. I honestly don't know if I would be the dude I am today without this release --- man, it's so DOOOOOOPE mannnnn real DOPE on the REAL. ....UNDENIABLE PERSONALITY. Matches my kinda attitude pretty well too, Jiggaboo Time crashes like something i'd find on like my fav free jaz album and i LIKE me some FREE JAZZZ at all times my dudes. Let's jump into 4 Better or 4 Worse (speaking of 4s, if you don't have this at a 4 at LEAST i don't care WHO you ARE ur a fraud and plz exit the HIP-HOP headquarters ASAP) catch that absolutely hilarious marriage vows near the intro Priest: "uHHHhh do u take Rhyme-A-Linda to be ur Lawfully wedded-wife???" ____ Rhyme-A-Linda: "do u lov ME dre?? do U rly LOVE ME???" --- Dre: "uHHhhh I do...??? uhh... I do! .... I do!" lol that shit had me in smiles round 1 listen --- then we get some flawless production work going on here - like a tide of sonic mirage synth green-glow flowing in from the left speaker to the right ....fuuuuuukkkk "Don't stop! Don't stop! Don't stop!" *dial tone* "I got it!!! Hello?????" ugh this track is just SO 90s .. so creative so poised, not scared to try ANYTHING like that perv'd ass prank call that adds to the song's appeal x40 --- then YOU CAN GET WITH THIS.. or YOU CAN GET WITH THAT....fuk. Bizzare Ride II is EXACTLY that; a Bizzare Ride -- - who knows why II but i mean shit i'm not complaining maybe we're repeating the trip cause it was so good the first time --- like how i REPLAYED Soul Flower (Remix) after hearing it the first time - - check how that tool-shed sound fx is highlighted around that one dude's verse at 1:06 while they back that LEGENDARY PARTY BEAT out and bring it back in at 1:15 to give emphasis on the delivery of how "BACK" is emitted. "Shot him in the ass on the DOWNSTROKE!!" what???? "Shot. HIM. in the___. ASSSSS.___ on. THE. __dowwNNNNSTROKE___" this song is WAYYYY perfect like omg nigga ANYONE is ready to jump in and just completely POP off - got dudes yellin in from all directions... that DUDE at the end and that drum-BEAT how you kinda forget about the LEGENDARY PARTY BEAT for a sec cause he's going in so hard - but when he says, "i got more flava then 7-11 slurpees, if magic can't admit he got AIDS - fuck it, I got herpes...." damnnnnnnnnnnn -- - - -- *silence* LMAO the beat jumps back in like fuck that nigga tho we're still partying. "On the DL" is the perfect mash-up of jazz and hip-hop, xylophone is on point, verses as well. "I'm so down with myself, I could chill as a bum(hum-hum)" stories are funny as always if you pay attention we got stories of jacking off and defensive-murder (it's on the down low, don't tell nobody he killed anybody). "Passing Me By" and "Other Fish" are gr8 for getting through bitches who've been trippin or that friendzone murk "i guess that twinkle in her eye, was just a twinkle in her eye", pack the pipe's sm0k atmosphere/experimentation hits off the bat - - amplification is heard throughout, speech is slurred - - distant wails from voices that sound filled w/ helium, doubled up-chants that trail, sound fx of lit matches - coughs/chokes and that bass groove which carries it throughout, buoyant pronounciation of BuuUUUUuUUuuUdDDDDdd so creative, then that complete silence *spitting* *a crack* ..... "DA PIPE DAMMIITTTTT!!!" ...fuk!! Then we jump right into "Return Of the B-Boy" which could just feature the greatest cosmic synth line of all time, lmao this beat is so spacey to me for some reason like that bass line??? pharcyde was channeling some other-worldy grooves -- "Step into the party and I bust my MOOOOOOVES" then my absolute FAVORITE part in prob ANY hip-hop album ever, that dude who jumps in and just MURDERS the album to finish it off "ALL MY RHYMES ARE HARD AS HELL. I AM THE ONE AND I PREVAIL -- you will SAIL, you will FAIL -- I am the doctor... ohhh yeah, what???" this ...fuk is so important to me cause it's like who even gives a SHIT what he's saying, and i think he knows that too - just jumps in with so much of a bark that whatever he says DELIVERS like no other line on the release. When they go "ohh... yeahh!! ... what???" it hints that they know it too. At it's root rap has always been about 1) Rhyming and 2) Emotional Presence ___ The Pharcyde is all about that, having fun, AND they have the intellect/wit on top of it all. The root of their work never let's up, it thrives on it's own energy. 5/5 forever. CLASSIC in ethos' BOOK.....|| song/album: || mood/vibe: "B.A.M.! --- who's NEXT!?!?"
10Panda Bear
Young Prayer

Today's my Dad's birthday and I'm not even home to wish him a happy one. I doubt it would matter much, but it's the thought that counts - right? Don't know if I can say it would here. I saved up for about half a year and moved out of my house too days ago. I feel like I've abandoned them all in a way.. but it was just too much arguing, pointless bickering - constant negativity, the list goes on... more than 80% of it stemming from my father. It didn't affect me much, but I didn't think it was the best place to grow as a person/keep my mind clear - not the type of environment I like to live my life around. I want freedom to do what I want and go where I please without feeling chained to unnecessary "discipline/scrutiny" whenever I return. My dad and I haven't had much of a relationship as long as I can remember. Nearly everything I've learned outside of school has been self-taught - or my Mom/Uncle have been there to assist me in (personal/emotional struggle, etc.) but even at that.. there's been little to none. I don't enjoy creating problems for myself, I love learning - but through my own method. Which is why I'm kind of thankful that he's never been around, I've had time to rely on myself instead of a "father figure" or a "model". And I'm sure that comes with it's negatives too (in different aspects of my life) - but I'm not going to throw blame onto him, I take full responsibility for my attitude and demeanor. He's never been home. Working and supporting us, like a good father should - I'm eternally grateful for that. Always trying to get the best for us and although I'd prefer a happier relationship w/ him - I know it won't happen anytime soon. Something needs to change. Panda Bear's Young Prayer has been one of the few albums to bring me to tears. It symbolizes the faith within myself that one day everything will be resolved between my Dad and the rest of our family. No stress, faith that we'll be able to enjoy each other's company naturally instead of trying to avoid each other whenever he's around. "Young Prayer" such a devoted and fragile declaration - full of hope. I just want my Dad to live in peace. I want him to be happy with himself, to stop struggling within his thoughts/worrying about everything always. There's so much spite and hate within him, but I know it's not his true nature. I remember what my Dad was like when I was younger, a completely different individual - always willing to help and share joy... I don't know what happened. Countless nights I would sit in bed and just try to figure it out in my mind, "What's wrong with him? How can I help? What can anyone do?" at a younger age, I tried being an ideal son - leading everything up to his expectations. Still problems. Then attempting to avoid him completely - issues persisted. I came to the conclusion that the only reasonable answer to curing his persona was within himself. Can't even remember the last time I heard him laugh. Young Prayer captures something special within music; selflessness. It's altruistic, a grieving process for Noah.. dedicated directly to his father. His Dad passed away shortly before this release. You feel it all throughout the recording. That production, how soft and fragile it all is - the crackling between tracks, everything feels shroudded by a light veil that wavers throughout the session. It's unconventional because it's completely genuine - this man's FATHER just passed away, instead of being critical on what's presented - take a step back and let him mourn, finding his own method of catharthism. Thankfully (for us) it was through one of the best ways he knew how; music. Every track feels spiritual, hypnotic - in a rooted and secure way, you're never uneasy or anxious.. it's all for a better wellness. How it starts so ventilated and bold, but you get the impression that Panda could just shatter at any given moment. The guitar's used as emphasis for his reflection - everything adds up and makes complete sense when given time. This is one of the few records that is past that "normal" ...fuk point, it's built entire upon feeling and emotion - I derive bliss out of nearly every phrase that's built. 2:06 of Untitled 1 - you feel like you're evaporating, - every time the guitar plays a key role in aiding the recording I melt. "And thissss is howww you'll know meeeeeeeeeeee". Untitled 2's rattle/break at :51 is magnificent, 1:20's trickle between the guitar and his voice is so soothing - the way he sings at 1:36 is enormously heartfelt. Untitled 3 may be attempting to depict a memory of a time well shared with his Father, I love the accidental notes splashed in around :25 and :27 or how a bass is apparent but only for a moment around :32/:34 before finally concluding the song with a few impactful strums. Untitled 4's heavenly emergence with that vast hum beyond it all - familiar to a deep wine glass half-filled resonating from above. Those brief few moments at 2:23 where you just hear faint echos of a whisper - almost a deadened silence aside from the hum, and how it all picks up at 2:47 almost manicly. Leading into more than likely my favorite portion of the album (which speaks measures, because I normally don't go insane over an elevated pitch.. especially in vocals) but Noah's trance-like squealing - as if he's been endowed with an angelic presence or reached a intimate form of enlightenment that starts at 4:26 but completely shatters and transcends to it's peak at 4:44. That's longing. Although I feel Untitled 5 is unnecessary and disrupts the contemplative/soothing mood of the album with it's claps, it carries a kind of promise to his Father that's near impossible to look down upon. The rest of the release sounds whistful and full of yearning, before reaching the final minute where piano's bounce off each other and conclude in synchronization. Very similar to the rhythm/sound of the introduction in Animal Collective's Doggy (which also deals with death of a loved one). For me, the resolution reflects the last mark of the album beautifully because it shows Panda finding stability then purposely relishing in it until it winds down to the last note hit. I always question how I would react if my father passed away. Without resolution between us, like today or tomorrow.. it frightens me to no end. Death itself doesn't alarm me at all, but the thought of not having that definite certainty in fulfillment of a life well lived - holes unpatched. And if there were, especially between my Dad and I - I'm not sure if I could get through that. I hate things that go unfinished, like looking at a piece of art half-way through and abandoned because it didn't keep proper faith. I always feel as though there needs to be an absolute, regardless of whether or not it's a good or bad thing - there needs to be a conclusion. I think of the possibilities in enjoyment we could potentially share with each while we're both still here and become incredibly saddened due to thet fact of how hard it would be to achieve that stable of an environment between the two of us. I take him for granted. I'll call him and I'll wish him a happy birthday, even though I'm pretty late now. I'll start trying to mend things out between us at every chance I get - I'll work harder. And if the day comes where he does pass, I'll continue that work, leading my life in a direction he would be more than proud of if he were alive and well. To where we could finally sit and enjoy each other's company, similar to how it was when we were both younger. It may not come anytime soon, but I'll make that absolute a reality. He's slowly getting better too, I can already feel it. I love him. || song/album: || mood/vibe: _____________
9Basic Channel

There was something about Radiance that had me coming back to it nearly every moment I picked up my headphones. I wasn't even sure if I liked it at first, it was so different and seemingly thin or stagnant compared to nearly everything else I had heard prior to it's discovery. Nothing ever stuck out or grabbed/shook me out of my listen, it just felt as if it was on it's own. Deep, not in the sense that the bass was heavy or anything.. but like it's scope - it was so elusive and layered. Fading. I wanted to comprehend it's purpose, why it existed and what it set out to do to it's listener.. if there even was purpose to begin with. Nothing ever felt as if it could be commited to memory within the first track, it just glided by on it's own doing whatever it pleased. But I persisted listening to it for whatever reason, it grew more pleasant with every run. I remember when it first clicked, driving late at night back home from my job. Around like 1 AM with no-one on the road, my headphones in/going straight for miles. Radiance I began to have this numbing effect on the mind/soul, at about the fifth or sixth minute I couldn't tell how long I had been listening to it or how long I had been driving. I didn't begin to care. Nothing else began to matter other than the music, I began to be able to physically keep track of everything that my body would involuntary do - breathing/blinking/sudden movement of the leg or arm. Picking up every minute detail that happened within the song, the icy scraping reminescent of hail lightly pouring down against glass - that would solidify my mind/the glowing sublimity at 1:15 that remained throughout the track scattering and dispatching off into minature circles at any given moment. How it all seemed to dive deeper and deeper into it's vastness/ocean of it's own sound as the track progressed. And of course that constant dub/abrasive entrance into 9:14. My body was so calm and content with everything sorrounding it, eyes fixated at the straight road that seemed to last forever. I never wanted the track to end. Once I made it to my house, I immediately laid down on my bed right before Radiance II started up. Whatever sound that was emitted from the track made my eyes immediately close, as if "Radiance" had complete control over my body - leaving only my thoughts to hover around and meditate/reflect on not just my life but everyone's I knew as well. This state of mind carried over into Radiance III, but were now a bit more jumbled and active. I felt as if I had to move once it was over, but remained still until Radiance brought in it's own life; throbbing at as I wanted it to at 8:33. Like I was so intact with the EP's mood that I felt as if I was becoming the sounds presented, being able to predict whatever was approaching through a heightened form of intuition. The intricacy of Radiance is completely unreal, it stands at one of my favorite albums of all time because of that. Hypnotic appeal as well, I put it on whenever I need to switch to a different frame of mind or want to head into deep thought. It's addictive quality can almost become a bit too dangerous, as if one can become caught within it's waves for an eternity. || song/album: || mood/vibe: "If there exists a Basic Channel track more self-referential or esoteric than Radiance, please let me know. It's an audible ocean. Vast, deep, mysterious, barren, and reeling. Nothing can touch this."

Noon just hit. It's Saturday and I'm just laying on the floor. I want to finish this list, but I barely have the energy. No, scratch that. I barely have the motivation. I could go outside, I could go see some friends, I could pick up my keyboard that I just bought - or my guitar that's been pretty much neglected for the past year or so (CRYING to be played as I aimlessly scavenger out for new albums), but I won't. Instead, I'm choosing to lie here to listen to Myth and write this entry because I told myself I would finish ...fuk 2 (LOL). Gain on 12 decibels from my blaring headphone amp, staring at this blank notepad on a real drizzly/cloudy day letting these deep cuts burrow into my ears for whatever reason. Nah, scratch that again. There's reason. As you can probably already tell from ...fuk 2 - my attitude's nearly never like this, I wouldn't call myself bipolar - I'm actually pretty manic.. constantly jumping around/energized - happy and care free. It's fun, I love it. But every now and then I grow tired. Tired of weakness. Tired of people afraid to profess to boredom. People hating themselves/having so much pity for themselves. Tired of individuals' inability to grow past their own "comfortability" in life/knowledge. Tired of the expected. Tired of People = Shit - Slipknot, basically. So... for now, I crawl to Myth. Because for me - Myth takes all of the qualities in life that I "grow tired of" and kills them. Without thought or hesitation. It has no conscious or morals, no heart, it doesn't have any sentiment telling it to stop. It destroys anything that is unfavorable. I run to Myth because right now I'm weak. Not necesarily in the sense of qualities aforementioned (I have my own), but because I can't even begin to confront them. I'd rather dismiss a negative I see in my life or that someone approaches me with than grow hate/spite/anger towards a person who chooses not to learn/better themself and their environment. I don't sit well with wrath.. I can't wear it, it doesn't suit my natural demeanor. Myth does it all for me. Powerfully. I don't know this album's direction, I don't have much of it memorized - it just nestles deep within the back of my mind and burns slowly with noise - dissipating all the sorrow I have for the world and leaves me new. You don't just "listen" to this, you choose to submit yourself to it. There is no safety net here. No break. Throw yourself in this six tracked chasm and hope for an escape. When I choose to play Untitled 1, it's not the start of a pity party - it's strictly therapeutic.. like a baptism. Serves to alleviate grief and mend sorrow within myself that the things I've confronted have thrown onto me. Myth needs reason and purpose to be brought out and when these conditions are met it always surpasses expectations. I know this album isn't meant for "good". I feel it hinting at deviant sexual qualities, devastation, quivering bodies raped, damnation, fever, spite, insanity... just some sick sick evil shit and despite knowing this, I've found my own sense of optimism within it. I'm not afraid of it, because I already know what it was and what it is. I can't defeat it, I can't stop it - but I can gain from it. Untitled 1 starts and you hear a distant scream wailing within the back of the track as one of the brighest strobes imaginable seem to be flashing at a constant within some sick/filth concrete slabbed room. :57 ...fuk. The churning continues on and 1:17 ...fuks again. The key here is to like put your headhones so loud that your body can barely even handle the struggle that Myth deals out, upon every switch/these effects of abrasion burn deep into your mind and somehow elicit euphoria with it's folding/texture. 1:56 feels as though a plane is plummeting towards the ground and explodes upon impact left to burn. The swirling wind of it all winding down as if you're blowing in a straw ...fuk. 2:18 you can hear the same effect as the abrasion's tempo increases and the piercing becomes a bit more muffled in it's consistency The texture around the 2:55 point is completely unreal, you feel as though your body is repeatedly being beaten/zapped and torn apart. Muffles from a voice are barely audible and 4:24 on is a huge ...fuk before a few two notes die out and the track gives you one second of silence to breathe. Untitled 2's :28 and how the rising/falling straw effect at times jump out at you with a different sound effect than that expected, 1:14 - you hear it about to crack like a steam exiting from a kettle ready to explode. 2:18 is awesome, sends your mind into some wavy bliss - like you got an alluminum sheet of metal and started shaking it back and forth as quicker and quicker trying to daze out your own mind 2:29 - 3:00 as the abrasion grows louder and then completely vanishes leaving you with only the piercing sheet to feel a pulse to. Untitled 3 booms in with a lighter texture this time to allow the vocal track's distant wails direct the song towards a more structured progression. This track reminds me the most of machinery and shredding/1:11 to 1:17 ...fuk, "KLEISTWAHR" like he's trying to escape this dire atmosphere breaking but being cut up by every attempt. 1:36 is where the song seriously takes it to another level completely beating down every hope he has of an escape. Abrasion here sounds like hail torrentially being scraped against your ear 1:57 - 2:00. You hear his voice being chopped in different pitches, a distant whirring to the machinery 2:20 ..FUKK. His mutters scream then turn to a stagnant. 2:58's transition is devastating but the booming rhythm that jumps in at 3:06 brings the psychedlic nature along with the whirring to new heights. 3:23 to 3:29's jolts the victim, for a moment he's reminded of Untitled 2 - and just when he feels as though the electricity's power is dying 3:42's voltage increase ....FUKKKKKKKK slaughters him, leaving his dead body aross a concrete wasteland to rot. Untitled 4's flashes throughout the intro remind me of like how cameras or films depict a crime scene while you're watching them. Flash! photo. Flash! photo. All these photos being the scene at where this man was tortured and killed. The abrasion is saddening but somehow beautiful and when it reaches that deep muffled switch at 2:04 ...fuk we're almost left with our first melody in the entire release. 2:21 - 2:31 serves to kill that off. 2:54 to 3:40's tenseness/texture alongside it's rhythm, omg ...fuk. Then a MASSIVE explosion ...fukk. There's like jagged knives just ripping the dead body to shreds, you hear the man make a slight moan in grief towards 4:17 before it finishes him off. Untitled 5's the strongest track here (along with Untitled 1) and starts in a massive spurt to make that known. It feels as though a ghost or a spirit is caught within all the noise within the first minute trying to be heard. 1:24 to 1:27 ...fukkk! 2:53's pierce ...fuk, specifically 3:02 to 3:08 and 3:11 it's growing stronger and stronger. 3:26's wails, 3:31's texture is unlike anything I've heard. 3:38 to 3:57's is unreal, specifically at the end how you're left in silence for a few moments as the chilling sound of the man's spirit echoes throughout the room at 4:16 ..fuk - one of the most haunting moments in music I've ever heard. Then it all begins up again and this time it seems as if the direct purpose of the release here is no longer for you to be put in front of these events to witness but instead take part in as well. Myth is out for revenge. 7:34 is when it chases. Jagged edges closing in as your anxiety rises at 7:48. Every tool at Myth's disposal is being used against you to inflict harm and pain - an understandment of what this man's spirit has gone through. 8:59 marks it's beginning. Clatter heard rising from lashes being thrown across the room. At 9:33 the texture hits a ridge and chooses to ride along it. The penetration of the ear-splicing pitch that has been present this entire song chooses to step forth and as each second passes from it's rise you feel a presence within yourself begin to make itself known, 9:44 onwards - each moment becoming more and more unbearing than the previous. You feel full concentration and a heightened sense of your physical body as it lifts beneath you, finally climaxing at 10:08 and bringing it even further to 10:19 ........FUKKKKKKKKKKKKKKK. The track winds down and crashes into a dispersed sense of bliss and hangs there for you to recognize what you've just experienced. Upon Myth's completion, taking out your headphones feels as if you've escaped the sonic equivilance of Hell. I come here to remind myelf. Like getting to the fulcrum point of a roller coaster as a child and biting down on the drop. Face it and struggle. There's a strange sense of satisfaction behind finally stepping off. Thankful to be alive. Crohns sucks. Myth keeps my gay taco ass in check. Myth finishes. Fight fire with fire. Trespass or perish, bitches. And most importantly - smd, Ghostboy. || song/album: || mood/vibe: Don't say another Goddamn word, Thales. Up until now, I've been polite. If you say ANYTHING else - ONE word - on [this] here Floral Shoppe review? I will kill myself. And when my tainted spirit finds its destination, I will topple the Master of that dark place. From my black throne, I will lash together a machine of bone and blood, and fueled by my hatred for you this Fear Engine will bore a hole between this world and that one. When it begins, you will hear the sound of children screaming -as though from a great distance. A smoking orb of NOTHING will grow above your bed, and from it will emerge a thousand starving crows. As I slip through the widening maw in my new form, you will catch only a glimpse of my radiance before you are incinerated. Then, as tears of bubbling pitch stream down my face, my dark world will begin. I will open one of my six mouths, and I will sing the song that ends you and the rest of this species that inhabits the pitiful planet you call Earth. 4.5 superb You Are My Everlovin' | June 13th shut the fuck up 4 Bumps | Bump
The Unseen

Illmatic inspired fresh/new personality traits. The Unseen allowed me to become more aware of personality traits I already possessed. So many elements from this release I feel as though match my demeanor, how I hold myself or approach various things/people in a public setting. That immature ass kid always up to something no- one seemed interested in, trying to stir up any kind of trouble/fun, stress-free dude always laughing and smiling - completely affixed/driven by his music. Madlib used his massive amount of dedication to musical history to not boast or gloat over his amount of "knowledge" in said field but rather to pay tribute and honor his fellow musicians. The many that inspired him, he professes their creativity/musicianship as a direct resource in sparking his own - creating the moniker known as Quasimoto. Now I'm not trying to cop on Madlib's swag or thought process behind the birth of The Unseen, (because I obviously haven't even began to do anything related to the genre of hip-hop to begin with) but if I were to pick up a mic and start dropping verses/trying to create a name for myself outside of the one already placed on my being from my parents - that is EXACTLY what I would do. Quasi feels so relatable, like all his traits are reflected within my mind. I wouldn't get on the mic and start spitting an up and coming street story or attempt to belittle every MC in the game that I was knowledgable about. Nahhhh, I'm not about any of that. What I would do is juuust the type of atmosphere/vibe Quasimoto had going for him on The Unseen - spit everyday shit, making THOSE stories special with creative wordplay/insanely impressive production and musicianship. Hyping up every musician you vibe out to - to no end, riding their success as a method of building your own. The Unseen is such a goofy and positive approach to the genre, it creates a pretty unconventional scene compared to what you would normally find on your binned hip-hop album. There's twenty-four tracks in total, nearly half of the tracks contain no chorus - all experimental in nature. Samples flying in from every direction like no tomorrow giving the record twenty times the amount of personality of any record, there's moments where you're even sitting and listening to a throwback of classics, MASTERFUL production - to the point where you could even say it has a slight pink psychedelic tinge. It all feels as though it's kinda thin, the crackling within the air - like smoke/a slight haze or mutiness sorrounding you for the album's runtime. Sitting in your friend's living room as they pull out a blunt/try to vibe down, but not being pulled into any of that - having a true "high" opposed to lazing around and feeling out the boombox's blaring rhythm. Getting mad creative, that deep thought that comes with blazing but being so accustomed to smoking that it's cons no longer hold any effect. Mastering the art of Astro Travellin'. Complete creative freedom, nothing even having the opportunity any longer to bring you down to a worry/stressful environment, "Man, I ain't got no time for silly shit - here, throw this record on - pack a bowl - take a hit". A focused/driven goal of staying positive and creating beautiful music - it's brought out gloriously. Attemping to pull it's peers/audience in with it, continuously professing the "state of mind"/perspective it has on life and wanting other's to experience it for themselves. Almost too chill, presenting the idea of - "it only effects you, if you let it" or "you don't have to if you don't want to", Quasimoto's The Unseen has found it's personal paradise/heaven within various passions (music/smoking/rhyming) and sharpens them out to such a peaked result that it seems as if it's truly ALL Quasi invest his time in. And with time, it convinces you that there's no wrong in it either. Some cool katz, a moment you'll be dropped in the back of a jazz lounge listening to a poet's spoken word - "And that's jazz. A while ago there were katz reading while katz played jazz behind them. There wasn't nothing happening so the musicians cooked right on like they didn't even mind them. I wrote the shortest jazz poem ever heard. Nothing bout' huggin', kissin' - one word: listen." Before heading into a track that pays tribute/nods heads to so many influential jazz artists it's unreal. That's really all you have to do here on The Unseen, sit back and LISTEN. At first it might not all add up - a bunch of spastic rhythms, voice manipulation or insane samples and tons tons more. Just take it as it is and draw your own inspiration from the genius at work here. You feel as though you live in Quasi's hood, you've been hanging with him for years - you're one of his closest dudes to chill with. And the best part is that despite it being a hip-hop album, it's so out of place of the genre that it doesn't even begin to actually feel like one. So unique, so many ...fuks. The opening of Bad Character, that stumble it does before Madlib grabs the mic. How nearly every track hints at another or has an excerpt at the end blending it into the next. Chops/samples that create the most replenishable beats/melodies probably within any hip-hop album I've ever encountered. You're gonna stay in The Unseen's turf for a few days before realizing that you never want to leave. Astro Travellin's smooth kit creating beats behind helium samples and a constant breeze of wind. And of course the ...fuking gong that leads into MHBs breezy/soulful sampling of AZ's "Ho Hippie Jackie"/Kool & the Gang's "Little Children" so much hydration and bliss, a trip into the tropical oasis that's hidden right in the middle of the album's runtime - replenishing absolutely any hint of exhaustion within yourself. Creativity every way you look, one of the only rap albums that has grown on me not only with it's lyricism but musicianship as well. Favorite album in the genre/game. || song/album: || mood/vibe: Tony Hawk's Underground, LIKE AN ADDICTION, can't believe this was 2000, it goes yes yes y'all, to the beat y'all... quasimoto rock on and on to the break of dawn, Ladies and gentleman..... welcome to VIOLENCE
6Charles Mingus
The Black Saint and the Sinner Lady

BRILLIANT. ... OOOOHhhHHHhhhhhhh don't you dare put on some BLACK SAINT and the SINNER LADY in front of me, if you don't wanna be DESTROYED/have SEX/do someTHING INTENNSSEEE. I was gonna just sit and WRITE out some lame ass kinda college-essay type sputnikreview shit but NAHHHH not i couldn't bring myself TO it the BLACK SAINT gotta HOLD OF ME and the SINNER LADY wants me to write with POWER. thiSSSSS album!?!?!?? PASSION + POWER + BRILLIANCE. god, just sitting down and like STARTING solo dancer and im AHHHH i gotta get moving dude i want to pick up something and start playing!!!! (btw you might wanna click play on the album along with me on this one cause it's gonna get crazy stupid) that rolling into :08 bwaaaaa BWOOOOO bwaaaa BWOOOOOOO every single time they blow into the trumpet/horn/idk brass it's like disgustingly effective. i seriously think this is the greatest jazz composition of all time easy no contest if you wanna fight/argue about it we'll fight and gl hf cause im gonna be listening to black saint and the sinner lady as we throw handsss. AHHHHHHHHHHH 1:56?!?!? du da du da du 2:00's PIANO just going CRAZY dancing behind all of that whoever is on those drums need to .. omfg 2:27 to that halt 2:31 rolling up to 2:36 omg.... ELEGANCE ...fukkkk this is unreal im not even kidding if you haven't heard this... WHAT!?!?!? WHATTTTT 2:59's notes wow this piano is just... HOW LONG did this take to compose??? 3:50's deeeeeeeeeep ohh man something's coming i feel it wait what 4:13 what happened?? okay im cool with this!!! this is some jiiiivey shit my man 4:47's piano into the next part 4:52 ooo those DRUMS too 4:55 oh my GODDDD this is just... LOL i might have to stop here cause it's wway too much 5:16 ??!?! did you hear that squall?? and that BASS rising at 5:21!??!!? -- - 5:40 BWOWWWW!! ..FUKKK omg and that trailing horn in the back BWAOWWWWW wowww wow woww wow wowwww @____@ oh my god that was only the first track 6:24 and we're STILL killing it 6:30's fall to elegance alright yeah Mr. Mingus'll give you even something for yo mommy to enjoy the ...FUK HER WITH TRACK B: DUET SOLO DANCERS HUEUHEUHEUHEE ... OMFG GiaNXGX plz COME BACK PLEASE GiANXGX if MINGUS can't REVIVE you for just a MERE COMMENT i don't think ANYTHING CAN!!!?!?!??! :' ( ( ... .. . .. duet solo dancers is like getting b0mb ass wasted and being smart and yeah smart and PISSED kinda not really idk man more awww what's wrong at the beginning then walking a lonely road in lousianna GREEN DAY boulevard of broken dreams type shit but don't worry mr mingus definitely had some dreams and they're about to come to fruition in a sec, HARD (lol). yar HAR HAR captaindooright where u @ man you better 5 this man alright hold up 1:13 is where it kinda starts to get real ooo that stagger at 1:18 like jagger these cymbal's rhythm synched to this beat is :" ) 1:41 stagger down stairs again 1:55 UH OHHHHH UHH OHHH..... BBRRR BUHHHH.... BRRR.. BUHH lol this is like the jazz theme if JAWS got on land and started fucking niggas up like that sharknado shit to some mingus 2:05's piano !!! ...fukkk not that big of a ...fuk but seriously this dude just spices up the musical mind like none other 2:30 ohhh some more HORNS layering it up real nice i think they're ARGUING?? this is a nasty convo im outta here!! oh no the door's locked !!! 2:50 ahhH!!!! they're getting WORSEEE 3:00 oh god it's PICKING UP LOUDER AND LOUDER AND LOUDER 3:03 that drum kicking it off to the HORNS feel the RHYTHM of your BODY!!! ...FUKKKKKK ...FUKKKKKKKK 3:13 oh okay i guess they calmed down?? omg but it's even CRAZIER this time OH NOOOOOO 3:34 piano!?!? RATTTLE RATTLE 3:38 HORNS HORNS HORNS 3:45 PIANO IS GETTING OUT OF CONTROL 3:50 ahHHHhHhHHhhhHHHhhH THE TEMPO!!?!?!? this speed oh my god i used to go CRAZY to this as a kid i would FLIP my shit to this like specifically drop my time on this part to get the RUSH 3:52's piano gaining COMPLETE creative freedom 4:03 omggg the pIANOOOO 4:06 OMG THE HORNSSSSSSSSSS ....FUKKKKKKK 4:13 we get that MAGWAZA DRUMMMM floooooding in tearing EVERYTHING up with perfect percussion as that horn trails and writes some brilliant frenzied dazed notes tampering down notes at 4:45 until the drummer says NAHHHH soonnnnn LET'S KILL IT AGAIN at 4:48 and t-t-t-t- ticks to st-t-t-t-tt-t-t-art up another trail the horns BLAZE on mann this track :' ) the dream was definitely real 5:28 stamp + percussion percusson perscussion 5:31 HALT .. these drums dude ...fukkk alriiiight now we turn a corner on a street and we're right back were we started on duet solo dancers except this time instead of being drunk we're happy ^__^ ... ok Track C - group dancers time lalalalalaalalaaaa piano gorgeousness ...fukk LOL that halt @ :38 music kinda poops on itself this is a reoccuring theme throughout black saint that ...fuks mingus likes to poop himself hehe oh man this piano is great the way it just trails off at 1:20 into the final few notes on 1:31 --- cue the horns WOOOO ...fukkk alright Mr. Mingus we've seen this all here before what are you up to this time oh wow 1:55 piano !!!! i guess this is piano highlight time?? god... 2:17 apsodfoasdjf to 2:26 and then jumping down rising up woo ...FUKKKk cue the horns WOOOO ok now we got the piano mimicing hmmm what's next??? 2:54 to 3:00 spanish guitar ...fukkkk yooooo YOOO that fluttering 3:11 to 3:18 this technique is some exquisite shit 3:25 STRUM uh ohhh time to GALLOP off and this HORN in my right ear??? i almost didn't even realize it was there it was so fitting!! ...fukkkk - this song's a kind of dead bolt race jam the drums at like 4:14 to 4:23 are tasty and that woodwind 4:31 yepppp the theme of the century 4:54 piercessss 4:58 new horn ooooooo 5:09 ...fukkk this is some winded/draw out im getting dizzy now @___@ oh god fuk it al oh man this is heavy 5:48's whizzing horns like a bug in your ear 6:00 YIKKESSSS feel THAT 6:15 is when the lead horn starts really shining 6:45 to 7:03 ...fukk and then another POOP at 7:05 but we dont even bend down to clean it up we're still raising our horns flying notes around in brilliance til' the end ...fukkk MODE D/E/F alright this one is like the grandmaster of all songs put together into one massive - SPRAWLING (lol gy!be) "Stop! Look! And Sing Songs of Revolutions!" "Saint and Sinner Join in Merriment on Battle Front" "Of Love, Pain, and Passioned Revolt, then Farewell, My Beloved, 'til It's Freedom Day" vibes it packs the HEAT just how you want dudes. everything i've already said and more - scattered across in jazz GENIUS omg that piano at 4:44 though that was slickkkkk WOW it's not done?? 5:15 again okay.. okay.. 5:23 to 5:26 - (what was that, voices? direction of song??) - 5:31 to 5:40 oh GOD feel that creative brilliance then particularly at 5:54 the way it kinda just bobs along to the horns mannn this piano is .... 6:26 :' ) ohhh WOW and then the horn's GRAND jazzyentrance this time a lot more bloated and full in sound this is way too good again i can't even start ...fuking writing time stamps too many things blowing my mind atm from like 6:40 to 7:55's switch into the elegant/whispy horn that we've encountered earlier.. you start to get to know when a spanish guitar is coming too 8:25's horn feels like a war cry/battle decree 8:39 the same strums that ...fuk'd us are back but now you hear it faintly being played in the back this part is kinda psychedelic with that xylophone and the mix/way the horn soars above everything else 9:04 is so interesting this is all so cool possibly my fav moment of the track do you hear all this or is it just me imagining?? 9:36's sax, what's up with how brilliantly that's put forth? this is starting to sound near insane but you're encountered with at again at 10:04 and it's completely brilliant dear GOD this is ... 10:26's rhyhtm of those drums and all and all ...fukk ...fukk EVERY instrument at this point is in it's complete PRIME .. vibe out to THIS oh man you hear that increased speed from a horn similar to duet solo at like 10:48 and on??? ...fukk >...>>.>FUKKKK all of this okay regaining composure at 11:33 into an even GRANDER entrance now... WOWWWW 11:55 is a gorgeous touch to it all omg and that HEAVY/slurred/dizzzzzed entrance to a horn at 12:04 - - and the bwOWWWWW -- BWOOWWWWEEEE horns backing it up as the bass rhythm slowly creeps up quicker and quicker ...fuuukkk 12:57 hits a huge acceleration 13:11 back forth back forth ...fukk ...fukkk !!! !! 13:28 WOWWW until being ceased quickly to let the lead horn shine omg 14:21's basssssssssSSSS more speeeed yessss YESSS into the final few crashes/destruction but nah it carries off just groovin im movin' this is so good... LOL omfg they KILL the final one though like WOW omg and then THAT recap on the INTRO!!! oooohhh and the horn sounds so much more sophisticated and refined NOW always keeping it creative with the notes i see you mr. mingus you are INCREDIBLE 18:11's finish is ... just too much we poop ourselves and we keep going this is the one of the best albums ever made 5 it NOW charles moriano you KILLED it too what a romantic sax idk what half of these instruments are and i prob got confused with horns/sax but i dont even care you know what i mean - whoever was on this composition is forever jazz gods and rap gods on top of that too || song/album: || mood/vibe: I'm looking up and reading what i just wrote LOOOOOOOOL this is INSANE hooooly shit what's my problem but whew that was an enjoyable listen.... yeah that's black saint and the sinner lady in a nutshell folks and this is about as black metal as it gets you fucktards
5David Wise
Donkey Kong Country 2 Soundtrack

Nostalgia has always been a kinda strange word for me. Just the whole "longing" or "profound sadness, yearning for a blissful past" it doesn't sit well. I'm scrolling down a video conjoined with an mp3 file for Donkey Kong Country 2's soundtrack and reading all these "nostalgic" comments, nearly everyone's so upset over the fact that they won't be able to relive their memories from the past.. it's somewhat depressing in such large amounts. David Wise's soundtrack to Donkey Kong Country 2 was probably one of the first in my life I can remember ever specifically enjoying. It was the first game I ever played on the same SNES I still own today. Sitting next to my baby brother as he watched and just jumping around, stomping on Kremlin's heads - travelling through volcanoes, forests, haunted theme parks, and bee hives/tons more controlling a monkey who carries a boom box along with his girlfriend. I remember it all so specifically, nearly every single moment spent trying to beat it as a kid. That first time I heard Snakey Chantey's bouncy melody leading into the drumroll of the swingy/jazz- ragtime beat that matched the level's attitude perfectly. Jumping into that barrel and becoming Snakey, then pouncing on absolutely every Kremlin's head imaginable - how the beat of each jump kind of matched along to the music and how the boat's color/design fit the fun and animated emotions of the level's purpose to a tee. I distinctly remember replaying it over and over and over again wiggling on the floor as I beat it repeatedly, how much fun it all was. Bayou Boogie's sound effects.. the plopping of a lily on a pond, the frogs ribbiting/bugs flying around in the back. Avoiding the swamp and muck while twirling onto all the overgrown tumbleweeds with Dixie's ponytail. And how it's samples sounded similar to a song I had heard my Dad play at the time (Phil Collins' - In the Air Tonight). Or how Forest Interlude's ambience nearly lifted my body off the ground in astoundment the first time I heard it, how the Ghost Ropes vanished and echoed similarly to the whole atmosphere of the level - and the hazy/mist that sweeped the area in leaves felt so powerful when they carried Diddy and Dixie across the stage in a gust. Meeting Funky for the first time and dancing in front of the television to his groove/having his jet-pack/barrel mobile take me wherever I wished. Hearing the gushing molten lava flow beneath the crusted terrain of the volcano behind that mezmerizing synth and the light/fading one as well during each transition to a different portion of the song along with "Ouch!" or crying from accidentally landing on the album and switching between partners/losing a life. In A Snow-Bound Land's delicacy, how delicate/frozen it all felt - slipping across snow while entering a labryinthe of a cavern or being caught underneath a thin layer of ice and trying to swim out. And of course, Stickerbrush Symphony.. how on THAT specific level (along with Web Woods later on) I snuck downstairs late at night while it was thundering/storming outside despite knowing I was disobeying my parent's wishes and endlessly attempted to beat it. How mesmerizing the track to that specific maze of a level was - despite becoming upset with myself after each lost life, the booming thunder/storm brewing outside, paranoia of my parent's hearing me play the game in the living room at 3:00 AM at night... I still felt comforted and safe from it's music. Beating those two levels that night was like conquering the hardest challenge I would ever face in my life, after that - it felt as if anything was possible. David Wise knew what he was doing, every song served a specific purpose and drew out so many emotions - all directly aware of their stages. I can't thank him enough for what he did for my life, this specific soundtrack set the foundation for all the music I discovered to follow. Impossible to express how happy it makes me feel each time I choose to play it. It's never shown the slightest hint at wearing off, each track has grown with me as time has passed. Probably recognizing every single instrument and effect's purpose only recently within the past one or two years. Still can't believe this was all seventeen years ago, it still feels as though it was almost yesterday. And I think it's due to how the tracks are apart of me, anywhere I go I can pull them out of my mind and relay them back - jumping right back into those emotions I experienced as a child being completely content with how it's all aged. Which is why I still can't wrap my head around the nostalgia factor of these songs. That thought alone is just so beautiful to me, the fact that we can retain memories that vividly through music. I don't want to go back. The memories are still HERE, it's ALL still here - it's in front of you.. the game hasn't died or passed... you can still pick up a DKC2 copy - plug it into your SNES and relive every single moment. What's holding any of us back from that? What's holding individuals back from genuine enjoyment? The moment I hear a track from this soundtrack I personally can't help but smile, why the longing/sadness to go back? There needs to be a new word that defines EXACTLY what I'm aware of feeling at these moments (and others have as well). This recollection on various memories but an absolute contentment that goes along with it. Because I know life's enjoyment both in and outside of this game doesn't just stop the moment you complete DKC2 (or anything really) - set it aside for a few years and call back on it from a heart-pulling melody or vision. Call it self-righteous but I can't help to think that the wonder of these lives themselves haven't changed, rather something within them has allowed it to. || song/album: || mood/vibe:
4Talk Talk
Spirit of Eden

Spirit of Eden starts and your eyes are just naturally drawn to it. I'm not sure exactly why - but it's as if your mind's aware that whatever is approaching is beneficial to the actual spirit. That timbre of that horn and like :03, the way that expands next to low-strings being faintly played. The introduction to The Rainbow has always been one of my favorite moments of the entire album, the amount of control and how aware the instruments are of themselves in building the soundscape presented is serene. Then the first synth arrives at 1:24 foreshadowing purity/...fuk like you're about to have a religious experience. Cue that guitar lick at 2:16 behind that stirring of a glass-bowl (?) and you're off ...fuk. Spirit of Eden's starting !!! and the wait was well worth it. Wow those maracas as well as Hollis' crisp voice :' ). 3:48's amplification of the marakas before a cymbal tap and Hollis' voice ceases is a heavily detailed/genius introduction to 4:00's ...fuk which feels as if your spirits being lifted/rejuvinized. Spirit of Eden has always had that distinct ability... well actually just Talk Talk/Mark Hollis in general. It feels as though they ALWAYS know exactly what the mind/soul desires in their music, they set up a ..fuk and then continue to revisit it with increased magic/wonder every encounter. Spirit of Eden remains my favorite Talk Talk related release due to of this. It's not as intricately detailed and meticulously built as the acclaimed Laughing Stock (and for once I'm okay with that), because for me? The album has such a way of being aware of not only itself - but it's listener as well with it's design/purpose. Each ...fuk is always begged for from it's audience because more often than not, it's already been introduced. Spirit of Eden recognizes every peak within itself and serves to improve on them in some of the most honest and creative ways imaginable. Throw in the fact that Talk Talk was willing to sacrifice an insanely large portion of their time perfecting this craft (spending 9 months within a church/dark room/lit candles) on the construction of the album and you're left with not only one of the most influential albums ever created, but one of the most spiritually enlightened as well. So fresh/crisp/pure, upon listening you feel as though the album has come from another place; it's strict intentions being those of goodness and well-being. For instance, when you hear the maracas start shaking up around 5:26 your soul recalls what it was initially met with on The Rainbow and it's instantly delivered at 5:38 with little thought and absolutely no hestitation, it's there. Piano chords are played to lead into 6:12's glow, the manner in which this note is held out and tampered with is absolutely unreal. It burns so deep with whispy instruments delicately sorrounding/6:33 and 6:40's subtle switches create such purpose/direction, and those faint whispers of the horns ...fuk. Build-up into 7:20's magnificent elegance, I always picture this as a type of physical/corporeal celebration for the spiritual texture/ambience created before it. 7:39 again.... right before landing onto Eden. [[[[ EDEN ]]]]'s display of the aforementioned is brought to light even more graciously here. The way The Rainbow kicks off, Eden executes it more effortlessly than I considered ever possible. The calmness of those bellows and the wails/cries of those strings before opening up one of the most defining ...fuks of my entire life, 1:03's entrance to the album. Tension is instantly released, the pounding of those drums are angelic. Whatever is unwinding like a coil around 1:05 and at 1:14 is heaven being revealed for but a brief moment, the chimes to your church as a child being echoed from a distance.. These seconds changed my life, one of the most passionate/spiritual rhythms I've ever heard. 1:48 it's cut off before bursting in the ferventness of it's own rejoicement. Heavy pangs and a few distant chords of a piano - genius bass line/a jumble of a guitar strings lead into that searing glow again at 2:26 and the ordained declaration of, "Everybody needs someone to live by. Everybody needs someone. Everybody needs someone to live by. Rage on omnipotent." And it does. Brought back at 2:56, just as you wished. This is just unbelievable really, it's almost too much to bear emotionally - 3:16. It repeats itself because it's so pure. Almost as if Talk Talk could continue these phrases for nearly an hour without the music wearing out/becoming uninteresting. 4:45 again. Eden is faith. 5:32's croons form a different direction, horns lead into a new territory. 6:04 solidifies that action and you're left to wonder where the progression could possibly lead next. The air becomes still, you can't help but believe the song is over - but you hope. They do it best and relive the moment one final time. 6:46 sweeps in again and you're so blissfully aware of it's unexpected deliverance that your spirit is immediately lifted from it's already heightened reach ___ Desire marks the finale of the three- song suite, working to bring forth an uproar/waking-up anything that is spirtually dormant. "Desire... whispered...spoken..." // "In time, rivers - oceans." Cue the ...fuk of noise as he exclaims, "That aint me babe! I'm just content to relax, then drown within myself." This phrase has always brought a ton of interest out of me, to drown within yourself and be content.. spiritually awakened/awaiting death with certainty and assurance - how the final years of life should be spent. The shaking of the kettle drum before each uproar serves as such a strong preparation. 4:35's admittance into it. When the noise begins it feels as if it's being repeatedly whipped in joy, the cow-bell serves such a nice rhythm to stick the mind to within all the chaos. Picking apart subtle instrumental additions brought to the noise is delightfully engaging, harmonica/bass/strings. His passionate increase at 5:53 when the bass starts to root itself deep providing a stable structure - 6:30's organ is the final ...fuk before instantly drawing back and being left in thought accompanied by the piano. Inheritance marks a shift in song structure and serves as one of the main reasons why this album is so addicting/replayable. It provides a break from the contemplative and dense demeanor of The Rainbow's suite and instead approaches with a more soft/light premise. 1:44's vocals, "Natuuuuure's sonnnn" ...fuk. Then how it breaks into woodwind section at 2:44 ...fuk. We've still got moments like that but it's far more condensed and focused - not as open/wandering as the atmosphere created on the first half of the release. Lyrics here are especially strong, look into them. I Believe In You's like jumping off a waterfall into water below, 1:40's bass line wowwwww - all this soundscape building, this track to me sounds the most familiar with the cover art. 2:43 is the start of a beautiful "After the Flood" type of expression, but a lot more airy/less dense in how it's evicted and put to rest. 4:40 marks the final set of that gorgeous chorus 4:58 ...fuk. Love how this song ends as well, 5:44's organ/synth ends split off before the phrase is concluded which allows the song to exist in a kind of euphoric state as the choir drifts about it leading into Wealth. Wealth is perhaps the strongest conclusion to any album I've heard in my lifetime. Everything Talk Talk has attempted to bring forth within Spirit of Eden now sits within this (seemingly) thin seam of faith. Crackling in at a whisper upon opening, organ is present to rejoice at :06, the piano's gently playing chords in the back, the bass is providing a foundation to the wavering/delicate waver of Hollis' voice. "Create upon my flesh. Create approach my breath. Bring me salvation if I fear." the synth that instroduces "Take my freedom" at :35 nestles in comfortably within the chest, "Create upon my breath. Create reflection on my flesh. The wealth of love, bear me a witness to the years. Take my freedom.... Lift my freedom up" as the organ/synth grows denser in the back lifting the spirit, "Take my freedom, forgive for giving me a sacred love". A realization begins, a spark of the organ takes it's own course at 2:23 as if it's recognized Hollis' faith and is speaking back. The organ providing ambience to some of the most brilliant execution of synth playing ever recorded, there's a presence in the song now - the manner in which the final note is held next to the organ elicits a deep bliss. Hollis marks his final profession, repeating the phrases over as if he now knows he's initiated his rites. Realizing that he wants to be kept tamed by love; because remaining free sits nowhere as strong within you if it's without the love of this spirit he's begging for. The song recognizes this is and streams down a soft ray of light passing through stained glass upon him. Organ wavering heavily in the back like a clear river's stream, the synth sparks up again at 4:53 and promplty vanishes. Returning at 5:15, this time reaching it's peak/entire realization of what must be expressed - the return of love. You're left to sit in a contemplative stream of euphoria and transcendence. Spirit of Eden's impact on my life drove me into an intense fever of a better understanding with religion and it's signficance in my life. Laughing Stock was introduced when I was around fifteen but Eden came in much later, the latter half of my eighteenth year. Throughout my life I've always questioned the existence of a certain religion, especially due to how spiritually twined it is along with music. Despite however hard I tried, I was never able to bring forth a "holy-ghost" through prayer - or ever feel an overwhelming attachment to sermon/gospel. I've always been under the impression that goodness is good and just that. Feeling as though categorization through religion is near pointless, anyone who's working towards a better faith/perspective on life and bettering each other's being for wellness is on the correct path. Religion has always seemed to separate that love for me, cause barriers - provide an "appealing" characteristic for those who are alone and seek guidance through cultural/ethnic familiarities. Failing to realize that everyone exists under the same team. Although my name literally exists as, "Christian" - I'm not entirely sure where my faith lies. I feel as though it will never lay anywhere than under the improved welfare/love of others, but perhaps something striking will reveal itself in the future. I'm on good terms with whatever is behind it all though, that's a certainty. Music being the medium I've chosen to invest my time time in to evict a "higher presence"/elicit ensurance in my faith (although it's rarely present). I've always that faith throughout my entire life and have been seeking to find that ultimate - that defining moment to confirm every idea or notion on the feeling of faith. And here it lies, hidden within the detailed musicianship of Talk Talk - the audible confirmation of that very faith. After five years of enjoying my passion through searching among databases/interacting with virtuous people of good faith I just so happened to stumble upon a religious experience as well. Spirit of Eden, the album containing the presence of God. And I'm so happy others are left to appreciate it's grace as well. || song/album: || mood/vibe: "I love them that love me; and those that seek me early shall find me." (Proverbs 8:17) lol @ highschool letterman jacket quotes
3Night Shift
Trespassers Guide to Nowhere

What is Trespasser's Guide To Nowhere's motive? Stumbling upon it, I'm not sure what about it really caught my attention but it was so gorgeously alluring. Sitting there with little to no votes, and some HUGE nostalgic/incredibly written review from Tibul mentioning various subtle but impactful life affirming moments on rym. That might have been it.. how I took in that entire write-up, seemed like something I couldn't pass up/wanted to be a part of as well. Regardless of reason, Night Shift's Trespasser's Guide To Nowhere approached me with such elusiveness. I would always listen to it at latest hours night (due to the name), there's something about that 2AM area of time that is incredible for the creative process. When I was younger my mind used to race/jolt around in a type of eager or excited mood looking forward to the next day - I could never sit still or calm my body down for rest. Insomnia started to creep up on me as a regular habit and music was the panacea I attempted to use in curing the problem. Countless amount of albums a night, title after title - I never got bored. It would drag into the morning with me still tearing albums apart trying to reap absolutely every benefit from them. Which showed on school days and obviously in my work/demeanor, the words "sleep schedule" were practically unknown to me. I started becoming obsessed with dreams upon waking up - writing down absolutely every small detail and attemping to become more in-tune with my unconscious mind to the point where I became exceptionally well at it. Tried pushing it further with lucid dreaming and once I conquered that (being able to have influence on objects/decision making processs within what was depicted within my sleep) heavy heavy sleep paralysis started to kick in. If you weren't aware, experiencing sleep paralysis is like having shadows creep over your body/watch over you as you're unable to move. The corner of your room ALWAYS has something in it watching//your body can't respond to the mind and anything sorrounding you is free to do whatever it wishes. At first it frightened me to no end, I almost quit attempting to recall memories dreams/using methods I personally discovered within myself to lucid dream but I figured that there could be something to learn from it and continued doing so. This is where I almost started believing I could tune into schizophrenic visions / delusions. However what separated the visions apart from what I would guess (idk lol) as "normal" schizophrenia would be that I began to possess the talent of creating a sleep paralysis scenario upon drifting off and then pulling whatever my mind chose at that moment into the room with me. It was always musicians or old/lost friends that I no longer had the means to communicate with. I remember talking to Charles Mingus (LOL) one night about dilligence, watching Panda Bear play along with people I couldn't recognize in my "dream" to songs I had never heard and experiencing Radiohead's shadows hover over my body within my room playing the most demented/strange sounds I had ever heard. It became SO fun to me that I never wanted to even live in the real word LOL it got pretty crazy dudes but i was having a blast so hey. Started mastering the art of sleeping/dreaming, every chance I got I would fall asleep and b00m - a reality existed that was FAR more emotionally aware/mindful of virtue or goodness. Nearly everything within my dreams had such life and merit. I explored around like this for nearly three months every day - writing down every journey and showing it to my friends or just keeping it to myself (if I felt it was too personal). Sometimes my dreams would even present scenarios where I wasn't present - but my decision making process within another individual's body had a slight say in their actions. I would view a fifty year-old lady living in New York from an eagle's-eye view and how she went about living her life/the "problems" she faced and what she went about doing to try and fix them. Not all dreams ended well, some people came across as weak and suicidal while others would attempt to inflict pain to others - regardess, my dreams continued to show me them all. Everything that happened felt as if it was so significant and purposeful, upon waking up from a dream I never felt as if the time was poorly spent. I learned and gained so much insight/knowledge about myself.. within nothing else but myself which was so strange. The resource seemed infinite, was this just a reflection of an emotional unconscious experiences? A "storage" that my mind dumped out every time I hit a pillow? Or some other force intentionally bringing me aware on how to approach/interact with everyday encounters? After around half a year of all of this I suddenly stopped being able to elicit dreams. Would rise in the morning and just completely forget everything that happened.. like I lost some valuable quality of myself unique to others, it felt absolutely terrible. Time passed and I slowly regained the ability that I once possessed but never in the full-fledged manner that I remembered. I yearned for it, not necessarily to experience venturing out into dreams but just to recall the emotion that was so distinct to the occurences. Night Shift's Trespassers Guide to Nowhere replicated it flawlessly. You can't SAY exactly what an emotion feels like at times, there's no words to express certain experiences - but you can sense them out. You can attempt to use every bit of creativity/soul within your being to allow someone else to perceive what you have felt. This is my favorite concept of music, the idea of going past entertainment/catharsism/profit and using sounds as a creative expression to scope directly in on a relatively unknown emotion and leaving it there for the public to pass by on. Trespasser's Guide to Nowhere exists as one of those albums for me, sitting within a plane that we all visit frequently but rarely stop to appreciate; the one of dreams. Stoned Hitchhiker drags you into a tunnel within your mind buffing/refining thought from the moment it starts, as if you're being conditioned for what's in store. 2:55 is hinting at light, 3:10 approaches to what seems like waves crashing against sand at night - horns heard in a distance: 3:33's ring travels fast as a gorgeous recording plays maksed behind it at 3:38 - you approach a train as the conductor announces, "Step up on the rear please! Step up, onboard!" that same spiritual high pitched singing is heard within 4:02- 4:20 faintly feeling completely ethereal as the train takes off, 5:16 - 5:25/5:27 the light re- approaches this time much more revealed 5:42 - 5:50 and cutting off into an acoustic strum. Windows zip up and it seems as if you've stepped off the train and have now enterred a car as a hitchhiker. Each of these timestamped moments evict some insane amount of feeling within me that my own logic can't properly describe. It's just felt, like I don't even have to even think concretely about how it's presented. There's someting at work within my interpretation of the music as far as thought goes for sure but the ...fuk just gets pulled out of me unlike anything else I've ever experienced - there's no reason; it's just percieved as beautiful. Lift to Where's? starts at around :52 when that carousel melody keeps staggering/splicing behind that steady tribe beat. The dips downwards as well at like 1:31 as well again at 1:56 - 2:14. Similar to the introduction to Stoned Hitchhiker this track displays that conditioning of the ears concept that I mentioned earlier, sedating your psyche/consciousness - I think the entire purpose of these two tracks are to experience ...fuks felt on a complete visceral level rather than logically. When the foreign language samples start up at 3:21 and those traces of dainty strands of melodies scattered all throughout keep attempting to form a whole/then that stirring and blurred rain or hail scraping effect used in the background (similar to Basic Channel's Radiance I); feels just like a lost dream. The child's shout at 4:28, the singers chanting an incomprehensible phrase as those dainty strands form a complete and coherent thought - etched out to scrapes/crackles. School for the Gifted's first thirty seconds before breaking out into chalk board writing keeping that ghastly melody but replacing it with a piano - anxious child bibberish, bells being cracked in the background, claps drowned by a constant fog/mist 3:28's absolutely BEAUTIFUL whisp/harp melody that flies about child screams and muffled shrieks/conversation - seems as if it were written in like the 1800s and tampered with only a year and a half ago through Night Shift's soothing intent. Ghost Ferry at :44 ....... You can't help but begin to question where these sound are found. Heading deeper down it's tunnel as someone's yelling various sentences from it's end. 2:05 is heavy, it starts stacking.. perhaps the tunnel is crumbling from above and you're racing out to the light? 2:33 that bubbling/carbonated effect reminds me of a certain lap on Mario Kart: Double Dash's dinosaur stage as a scream just echos and is carried throughout it all before heading to a rest at 3:54. Elevator doors open at 3:57 accompanied by a host intercom, you're taken to your High School drum line team and are reminded of how magnficent their cohesiveness was as they beat down noise and carried hythm in unison. Waves of noise reaching the climax at 5:48 into Ensign Song. The hymn sung at it's opening next to trickling water and scattered piano notes/chords - such a calming and peaceful moment after Ghost Ferry. The gathering of those petite and clustered dazzling notes dispersed/played at random intervals beneath the hymn at 2:07 and various other moments. For a brief moment the progression of the song gets caught at 2:56 then smashes past it's hook at 2:57 dispersing everything built up to the point in every which direction as you sit in awe while sounds scatter across the room. 3:43's drums marking a celebratory ending - the melodies/harmonies still scattering 4:12/4:13 dropped glass before ending in a gleam. Trees Beckon, But Hospital Catches's bringing back that Mario Kart Double Dash dinosaur stage melody around 1:16 (personal memory), clanking of something dropped between a construction sites metal beams from 1:40 to 2:11 - the air's whirring/hum stop and go adding a psychedelic effect. 2:54 is absolutely gorgeous, someone ripping off what seems to be a plastic sheet (birds are heard chirping in back) perhaps a tent? A piano melody jumps down a scale and strikes the final note hit with tons of purpose/intent so that it carries out deeply is repeated. 3:58 specifically, after a child's whisper. Jump back into the initial setup, radio transmissions seem to recall a vintage broadcasting a political television event it's entrance and how it sweeps in is chilling 4:32's effect, - the constant exhalatations of content 4:56's horns evict such a sense of patriotism before being assassinated by gunshots and dragged away/escaping for the audience to witness. [[[[[[ ESCAPED ]]]]]] I want to pause before writing the "...fuk" for this one (I haven't even said ...fuk in nearly any of these from like 10 down now that I realize it) because I need to kind of apologize for writing like a play-by-play of these songs/breaking them down to the point where they're nearly unimaginatve any longer for anyone who happens to check out the album. This is what I feared on some of my favorite releases, sucking the fun out of coming to your own interpretation on what moments are important or special on it's initial appeal/repeated listens, y'know the ...fuks lol. Which is why I was a bit hesitant towards writing this ...fuk 2 thing to begin with but scrolling up and reflecting on all these entires/coming to terms with thought processes brings a kind of contentment/gratefulness on what music has offered me and inspiration to explore/write further past anything currently imaginable in the future to give back. With that being said, I want to reiterate that every moment time-stamped (as I stated before) brings some type of affirming moment/recollection/memory within me that is nearly unexplainable. Alright, now time for Escaped ^_^. BZzzzzzTTTTtt rughherr rughhherrr RRUUGHHHerrr ruggghhherr, feels like something mashing some kinda cyber juice all within your ears your or you're slowly passing through some melted metal goo - some kinda spirit/fairy presence makes a squeal at :36 and then you're off into some car wash mist left to vibe with only an extremely offbeat nature of a drumkit. As I've expressed before, Night Shift's unique quality lies in their technique with conditioning the mind to percieve sounds through imagery/a more unconscious or visceral level (similar to a dream) and this song captures that attribute to a tee. 1:31's mist is when you're swept into the dream, racing throughout a forest at the quickest speed possible. You're being chased, a distant siren can be heard within the back - a sax starts to frantically play (jesting at your idea of not being caught) and the air feels anxious/dire. Drums start to pick up and gallop alongside you with cymbals crashing in like lightning against a night sky, the metallic substance that conditioned you earlier is now racing throughout your body - a sax begins to breathe in the life of a foggy air clouding your sight/direction of anything ahead. You continue running despite the loss of sight - hitting branches of trees and stumbling upon rocks. The sax has now completely lost control and is imitiating your body's attempt to make it out of the forest alive. At 4:11 you collapse and are knocked unconscious. Insantly sapped out of the calamity from which you came - a personal escape. Flashes of your fondest memories in life pass within your mind, a distant bell lightly rings outside of your vision as a reminder of the physical world while that saxophone now breathes in life serving to comfort you. 4:49 The calming gestures of the guitar's strums alongside the sax at 5:20 attempt to push you back into consciousness, healing every portion of your body and never letting up until you take your first conscious breath back into the woods with Woods Scare. Woods Scare to me always feels as though it's depicting a forest from an eagle's eye view. Within the night sky, a bellow at 2:04. It seems as if something omnipotent from above is controlling every living thing beneath it. 2:38's metallic oscillation into a divine chant, even deeper bellows brought forth at 3:30. You can hear the rake of leaves being swept from under shoes, cars passing by and the various creatures scurrying about under the Moon's light. 4:49 glas shatters and horns are brought in as a type of celebration as the glass is scattered about ...fuk. Menacing laughter is heard from about the trees at 6:58 and the track feels as though it's purpose has been met, closing out. Orthodox's Transmitter starts with a hair-dryer blowing above your heads and then knocking into wind-chimes. 1:12's arcade beat after imcomprehensible cult worship along with the drum's rhythm until 3:39's high pitched frequencies blaring within your ear to a sudden thump at 4:10. The mood instantly lightens, we're back to a radio transmitter relaying foreign languages to us as a message. You hear distant ambience faintly played within the back throughout the entire message with an angelic glow; 5:31's few notes into 5:34 are particularly engaging along with 5:48's 5:54/5:55's - the phone hangs up on a high note and we're brought to Woods Soothe. Grasshoppers cricket/noise crackles and snaps as a man hums an affectionate tune. Around 1:58 is where we encounter a synth's hypnotic rise and fall that carries as a theme throughout the entire song. Fizzing starts to be incorporated along with the crackling ambience that was introduced from the beginning, the man's hum is heard again and a stamp is placed within the sound's base - birds/bugs and the synth's rise scatter across your mind flying about. Foreign chants produce a hypnotic effect as the synth repeats a drop and a light guitar strum is echoed. 4:31's effort to attempt to lift the crackles/fizz upwards (similar to raising an elastic band off of a wrist) is calming, the man's hum returns and the Wood's trees open up around 5:04 highlighting the crickets of grasshoppers/bugs and faint abrasion producing a state of contentment. A Brief Stay at Antenna-Worshipping Camp opens with the trotting of a horse then twinkles along to the improvisation of stringed instruments and horns. Soon the twinkles start to form their own melody, similar to one played on a mock-up child's xylophone - the bars are strummed across like a match as a dog barks within the background. 3:32 introduces an entirely new segment of the song filled with heavy abrasion and a synth bustling about. You can hear fireworks taking off and popping within the background 4:57 to 5:01's section is enjoyable but when the final bottle rockets are set off the last crackles initiate around 5:55 to the staggered abrasion the track soars. Wolfpack Crosses the Border features one of my favorite moments on the entire album although I'm not entirely sure what's being put to work here. More of the same scattered fireworks behind a guitar with various effects laid beneath it but this time much more optimistic in ambience/mood. 3:17's sudden jolt is beautiful. Alternative End marks the final track in the sequences of dreams, featuring a various amount of elements already encountered and blending them up into a mix that sounds vaguely similar to a track off of Sunshine Has Blown before counting down from ten and exiting the dream. Then replaying the introduction as if it was only a hoax and you're sent back into the loop from where you came. This album was probably my least favorite to timestamp because I feel as though visual depictions of "moments" in music are nowhere near as fun as actually listening to the album itself and drawing your own conclusion. It's not the easiest release to adjust to, but once you become well acquainted with the sounds presented you start distinguishing your own personal connection with them. I love this album to no end, I've had some of the most introspective nights/vivid memories upon listening to it - the album has a quality of lighting up all sorts of portions of my life within me as a reminder to never forget. I suggest listening to The KLF's Chill Out if you're interested in this and trying to get in touch with it's mood before heading into Night Shift but I mean you're good either way - for me this has a lot more sophistication/ideas going for it. Lay back late at night and close your eyes/depict everything within your mind, give this release the effort it deserves - it creates a surreal mood and atmosphere unlike any other. This is just an insanely imaginative album, it's presented in a manner that few others choose to. Along with it's distinct late-night ambience - it hands you the sounds of a horse galloping/radio transmissions and a few guitar strums then asks you to run with it in drawing up your own conclusion within yourself as to why it's beautiful. Similar to how a dream would present itself - upon waking up don't forget what your mind wants you to know, there's too much to learn from! || song/album: (not on youtube, ask me) || mood/vibe: ??????????????
2Arthur Russell
World of Echo

That brief moment in Being It that could last for an eternity. After the deep resonation from the bellows when the song first starts - sounds are folding and textures are echoing, preparing for what's to come. There's this presence in the sound too, a sustained hiss at the lowest volume.. not interfering, but being known. His voice sets it all up so effortlessly, and hangs at a stillness - urging to be snagged into what's to come. Then it just lets go. Pulled into the remaining portion of the song like a hat flying off a branch of a tree, or the light suction of a vaccuum bringing up that penny you accidentally left on the floor. Being It has always reminded me of wind, specifically on :29 and on... but never the airiness texture of wind or anything like that... rather the movement. Facing a strong gust, feeling it rush across your face - hearing it swirl/circle within your ears. I remember when I was a kid, my dad used to take the leaf blower back when we finished mowing the lawn and jokingly aim it towards my face, how my cheeks would dip in and my hair would blow back as the wind blew. Or how I would take it for myself and put it beneath my shirt and open my mouth, "ahhhh" - hearing my voice hit funny rhythms jumping in all sorts of directions as air flashed by my eyes and entered my throat. Similar to a creative thought how it flashes before your mind and inspires. That freshness or purity, the -quick- movement of air, just for a brief moment .. how cold it is before finally slowing down and stabilizing towards the temperature of all the air around it. It reminds me of reaching that heightened sense of nearly everything around you that comes with being young - having an idea and not being able to sit still until you pull it off.. the lightness and innonence of life that sits deep in your chest (similar to falling in love), everything feels so boundless and alive. That's Being It. Masked beneath the cello's nearly distinguishable melody and reverb around 1:04 you're met with a layer that showed signs of reaching it's peak earlier on - but in that specific moment intensifies masterfully - - then leaves traces of itself scattered throughout the rest. How Arthur's voice enters at 1:19, how warm it feels as every sound is swirling around it while he carries his pitch higher and higher - wind's rising. 2:22 we hit a break, but the song remains pushing - the cello is not letting up, etching away at an idea to carry the song into the next sequence, doing so rapidly without any hesitation. Being It has such assurance, it's a song that has realized it has infinite potential. 3:29's blares and how they grow into 3:33. 3:37's bellow/etching of the cello again while revisiting the main vocal progression. Clicks of the rattling at 4:23 and the glow of new energy at 4:45, how it smolders through the remainder portion of the song as Arthur creates whisks air throughout his breath before the song comes to a rest. World of Echo changed not only my perspective on music but my life as well. Inside this release there existed so many ideas that I begged to one day discover; it was like finally encountering the sounds that I knew could exist but at the time didn't possess the knowledge the comprehend. I would take World of Echo for four hour walks throughout my town and just meticulously listen to absolutely every detail within it, the effects it had on my mind are insurmountable to any other album I had ever heard. How aware of itself it was, for example - take the effortless switch Arthur creates on Answer Me right at :26 and how quickly/beautifully a moment is created with nearly any preparation. The awareness lies shortly after this serene moment :35, where he stamps the sound within the song and you hear a direct response of bubbling/carbonation rising within the environment. Again at 1:13. World of Echo isn't built to feel "complete", I feel as though it's entire design is based on the concepts of visceral interaction. Soon To Be Innocent Fun/Let's See weaves some of the most comforting progression imaginable, you're instantly caught within it's sawing movement. The song means absolutely no harm at all, constantly driving forward with creativity - although the cello's phrase is repeated throughout you won't find a similar moment anywhere else throughout it's runtime. 2:45 sinks deep and then instantly floats back up as if it's a ball of cotton, his voice guides the entire journey throughout the song - directing the rhythm or pitch of his cello. 5:40's tremor marks a new path - as Arthur leads clicks and stamps into "Let's See". The movement of his vocals here feel as though the instruments are built to highlight every change of pitch or yell rather than the other way around and due to that he feels free to do whatever he wants. Take for example at 8:47 shortly after yearns/cries his voice grows much more full and deep - the cello quickly falls. 9:04 to 15 is gorgeous, 9:19's instrumentals to complimenting the opposite pitch. My favorite section of the song lies within the final eight seconds 9:28's hasty decision to shift into a new melody before the song suddenly finishes. Place I Know/Kid Like You's rhythm seems like a complete joke at first before you realize it's purpose on the effects to Arthur's voice/the cello within the back and the bellows as that very cello is quickly writing out a new progression. Instantly the rhythm/beat evaporates and you're left with Arthur's affectionate voice, "You're friend did something that put me on fire (???)" at 1:28 as if he didn't even pay attention to what was laid out before him and the instruments instantly adhered to his thought process. Song structure is almost negligent on this album - you don't WANT songs to be structured but rather transcend/break free of any regulations or guidelines set before it. 2:16's switch and how it explodes near 2:24 is magnificent, Arthur dipping back and forth between highs and lows "A kid like you could never understand, a kid like me would never understand that." as bubbles once again surge up within the pressure. See Through's atmosphere is breathtaking. Arthur's vocals glides within this well-light cavern and bounces/echoes across it's walls as you're left to stand as a witness, the cello creates a brief moment at 1:35 in response to the clicks and swirls up to 1:41 where Arthur's voice soars. Hiding Your Present From You's wavering texture leads into a harmonica at :21 that breathes life into the song, 2:44's entrance to that motivational beat. All-Boy All-Girls bouyance in the bass that starts at 2:08 and how Arthur's voice returns triumphantly into, "At the same time, that they were letting go. They were kissing." as the instruments mimic his expression. Lucky Cloud's energy that it creates out of itself at 1:33 then builds upon as each second passes while backed up to what sounds like a bendy straw and those reoccuring bubbles / 2:24 sounds like a grand clock hitting noon as the song masterfully shifts mood. Tower of Meaning/Rabbit's Ear/Home Away From Home's misted introduction structure laying deep behind shrouds of fog, how interesting the vocals at 3:08 along with the cello company move. The endearment of Arthur's voice at 3:34 above the reverb and the stamp at 3:58 and how graciously it just exits as if the song could last forever. Let's Go Swimming's grating and the creaks it produces in abrasion before leading into one of the most luscious textures of sound I've ever encountered being produced from his cello. The pressure the song emits at 1:07 as it's pushed down and attempts to strain Arthur's voice while he remains in natural form rushing for an exit. 1:31's quiver within the cello feels so passionate, Arthur's ardent voice alongside it and how it quickly leaps at 2:02 and 2:33. The Name of the Next Song is my second favorite track on the record next to Being It. I love it's motion and how the cello always creeps in at various sections scraping away near the introduction foreshadowing what's to follow; 1:23 that high pitched noise too. Arthur Russell keeps on stating "The Name of the Next Song is...." followed by various phrases that mark a personal tracking of growth or progression in self-understanding. "I'm sorry, but this is how I learn". Every instrument following one of these declarations showcases a musical thought edging closer and closer to a complete realization. For instance, the high pitch at 1:53 draws out much longer as the cello/deep beats wander about it in a more curious nature trying to locate an access point for it's fruition. Arthur's voice gains slight faith after every measure, he seems to be entranced alongside his music chanting deep personal hums and incomprehensible speech in an effort to become more in-tune with it. "The name of the next song is... Take a gander at that". Thin bells are now introduced that ring beautifully. Arthur's voice grows. You're put here to witness the creation of a heartfelt moment, the definition of ...fuk - the emotional uprooting that takes place within an artist. What Arthur Russell feels as though contains merit within himself that he wants to present to the world. "The name of the next song is... A new man will come out to do that." He starts up again, this time the mood has shifted drastically to a much fuller sound - captivating from it's beginning. The cello carves away at the sound presented, indenting crevices throughout the room's atmosphere with the tips of this sharp abrasion. Arthur feels so emotionally driven, as if he's pulling something deep - his fondest memory through these sounds, at any given moment he could break down and weep tears of joy before reaching abruptly ceasing in noise. "The name of the next song is.... dudder (??)". The pitch returns, Arthur begins humming deeply-emotional rhythms. The noise has gained a certainty within it now, the cello has almost reached a complete thought. Before it ends you're absolutely certain the next sequence will transcend. "The name of the next song is.. Blinker (??)" ... "California, here I come. California, here I..." the cello rushes in and some of the most euphorically blissful noise carries your soul past levels imaginable, condensing every heartfelt emotion within your being into one collected mass and taking off. The thought is now complete and the song feels content at it's finish. Happy Ending's dynamics/space within sound and use of silence is astounding, particularly at 1:44 after the swell 1:55 where the cello begins again as Arthur speaks then reconsiders for a brief paused momentcontinuing (2:02). His shouts and diction near the end, "a town like THIS - has got to know you...". Canvas Home is executed flawlessly. The lyrics are some of the view that are actually distinguishable - Arthur's voice glides across his track elevating in pitch on particular words, "The dog is licking the boy and the boy is laughing at the sky - now the sun is upppp! There's a fish you can seeee! Anything you find goes back to seaaaa!" before trailing into a murky rhythm. "Anyyyyyyyyy" stamp at 1:12 that send waves into a rippling effect behind Arthur's voice giving it so much more emotional persuasion. "Thingggg you finddddd, ahhh-ahhh ahh-ahhhh goes back to the seaaaaa". The bass/distortion/cello and rippling effects carrying it out and folding over one another until the final second. Our Last Night Together is the perfect closer. Time feels as though it's of the essence, as if Arthur had to make each and every moment spent with whoever he was singing for/to purposeful and of lasting rememberance. The melody produced from the cello is so amorous, Arthur's voice entirely affectionate. Desiring to wrap yourself in this song's texture and never leave, the lyrics and mood of the song - how Arthur's voice abruptly rises in elation give off the impression that you know he means well. And that's part of what I believe World of Echo serves to present so passionately, well-being/contentment. I don't even feel as though I presented my thoughts on this album as convincingly as I wanted to but that doesn't mean I can't get my point across here - it only means I can not yet properly express this album's design. World of Echo evicts such a natural/innate emotion within my being that I stop and take a moment to appreciate nearly everything I've had the opportunity to take part in. I see people that I've never ment before and want to peer into their life to understand/be beneficial to them in some way. A constant state of self- reflection/gratitude of my life lived thus far. How blessed I am to have experienced it's sentiment to (what I feel as though is) the fullest. Every single note/sound brought forth serves to create a meaningful moment, it's taught me to take that mindset everywhere I go in life. Music to me no longer even holds detrimental qualities, I've come to the realization that anything can be as interesting as you want it to be. Learn from eveything. Throughout the past two years I've had a number that has followed me everywhere I've went (222). It's popped up in various situations always when I'm least expecting it (jobs have called me to be interviewed at addresses with 222 as the street-name, on the back of a fan's shirt as I'm watching a live video to one of my favorite bands, opening the page to a book and it conveniently landing on 222, getting in a car and the road trip mileage starting at 222, visiting a friend's page that I haven't talked to in a while while remembering her "Last seen 2 hours 22 minutes ago", the list goes on and on). The creativity of this number and how it presents itself to me never ceases to amaze me and upon it "appearing" repeatedly ever since I first became acquainted with it I was never scared - it always seemed as if it was a reminder, it's purpose meant well and was inherently good. World of Echo and 222 exist in the same frame of thought within my mind. I doubt either of them will be completely understood and I don't mind if neither of them reveal themselves in their entirety to me. After all, what qualities endow something to achieve a definitive purpose? To me, they're both safe-havens. Seemingly meaningless objects I've found that reflect an superable amount of content and well-being - that's purposeful enough. When I see 222 I naturally stop to reflect on what I appreciate and why, it's my unique possession that gives me an aspiration to continue striving towards a greater sense of prosperity. World of Echo takes this appreciation even further because it's one I can reveal to others and share along with them. Whenever I hear World of Echo I feel as though I personally know Arthur Russell - how he lived his life, how he would have laughed, his smile or his sense of humor - every positive is right here for me to appreciate. He was gone before I was even born but I've met him here within this album. The gratitude towards discovering this website.. Claudio, Winesburgohio, Havey, Ire, GiaNXGX, Lakes, Skeames, Flareguns/Sickpriest, Mindle, MisterTornado - and every other wonderful/interesting person within it (all of you) how they've helped shape my perception on music and have helped refine my own taste. World of Echo feels as though it is the defining album towards artistic significance or merit, I feel as though nearly any artist or creative thought would gain insight from it. In the manner it is executed, it can teach that gratitude towards artists and how anyone who picks up an instrument with the intention of bringing another individual well-being should be appreciated. Most importantly, it's given me a complete satisfaction and appreciation towards life. Look at how much we're given! Within such a brief period of time since music has been put to tape, look at all these wonderful lives to indulge ourselves in and come to an understanding with - all these people willing to sacrifice their time to present emotions we can relate to and use to play a role in defining our own. All these opportunities in life both inside music and out, nothing holding us back except our own restraint. I feel as though here, Russell had no restraint. He wasn't afraid to make mistakes here and once he understood why his decisions were incorrect he made them right along his process of writing these songs. Throughout life I've always yearned for this, the "one album" that expresses that quality. The album that fits nearly every condition I set out to achieve and then surpasses them entirely - giving me an infinite amount of wealth to evict from it. I've tried to stay as genuine to my understanding/enjoyability of music I've come across, giving everything an honest and genuine chance before choosing to spend a generous amount of time in listening to it. Checking out everything regardless of criticism or how off- putting it may be, in hopes of one day finding a release that replicates my true desires/emotions. World of Echo is that album and it has allowed me to fully appreciate my existence/the people in it with me and the opportunity we're given. A big thank you to all my niggas on this site sharing what they love. Music has been so so so good to me and I'm striving to one day share it with others in hopes eliciting the same sense of appreciation it has given to me/all of us. Life is a 9.8/10. || song/album: || mood/vibe: Yes you sound smart and all, and you are probably, but who taught you? these things? a teacher at school? your mom and dad? by someone? did you learn them yourself? when you learn them yourself, you believe you have figured out the universe? answer please...from who did you learn what you know? and what makes you think that you know "everything" based on you learning from someone else?///GiaNXGX my favorite bands are accomplished by auscultating to a piece of music December 9 11:21 AM, someone who got ...fuk'd by world of echo:
1Animal Collective
Water Curses

!!!!!!!! this it it, omfgggg - alright dudes WATER CURSES ...OMFGGG WATER CURSES!!!! im sitting outside my house right now with the wind BREEZING by at just the right speed, the SUN'S beaming down on my head at just the right angle with PERFECT warmth.. IM SO HAPPY i don't even wanna be typing this right now!! i'd rather go for a jog or idk play outside by myself lmao (IT'S SO NICE OUT) but this is the final ...fuk!! and today's the FINAL ...FUKING DAY, after this IM DoNE/FREE --- WOOOOOoooOOOo im so freaking excited this might be the best moment of my life idk lol nah but wow it's SUPERB, NAH, THIS IS A CLASSIC. bZZzzZZZZZzzzzzTtTTTtttTT *croan croan* next to some gyrating swirly thing i'd find at the bottom of my best friend's pool - bum BUM bum bum BUM bum...that RHYTHM along with the gyrating thing going along with it's own ideas - PANDA'S CYMBAL CRASH :16 sending everything at the kinda speeding/energetic PACE im ALWAYS down with AND initiating the START of WATER CURSES ...FUKK!!!! Sup, Avey dude hi nice singing man - how are you doing today?? oh, you want to be like water? and slip into my THROAT? and make me feel alive and GOOD? wowwww, same!!!! but like i wanna do that to everyone!!! dude, you've got some nice lyrics going here wow i feel the same way about reflecting what is around my pool.. we're all reflections of each other, right? same consciousness and all just in different bodies?? let's wake EM ALL UP, let's pull out the ...fuks with music!! - i mean you already OBVIOUSLY are with this sweet aquatic tune but im gonna join TOO - no more SNOOZIN, you've told me how to do it, you've told me what you've been doin for A GOOD PORTION of your life so im down too! alright bye, avey im gonna go jam this first song some more peace dude ...fuk 2 isn't for long convos lol sry but u know we're always cool. *panda's beat* BUM bum bum BUM bum BUM bum BUM *jetting mist spewing up and being sucked back in as ethy jams out to water curses on repeat* ...fukkk *ethy bops/jams to avey's lyrics some more while bouncing around to the sounds thinking about cool stuff as his texas weather feels so alive and GOOD* THEN the funnest ...fuk comes!!! a zipping synth line from Geo that's jumping around rebounding off of all the atmosphere of Water Curses as Avey sings, "i don't think i know exactly what i'm DOOIING - but i tend to know exactly all the things that keep you MOOVING" wow, yeah!!! i feel u on that, avey!!! that's kinda like a ....FUKKK ohhh MY GOODDDD that synth's release into complete creative freedom at 2:27 and the DIDDY KONG RACING whale bay/tropical vibes that go along with it!??!? ....FUuufufuufuuFUukkkK KK K K K alright HMM what's next here? i think im gonna talk about cobwebs' ...fuk yeah, i'll save S T R E E T | F L A S H for later!! bmMMMM boop boop BMMMMMM wow i loved this song already first listen am i in africa sahara or like idk some rainforest!??! this song is SO much to sing just to raise and lower your voice to daling-ling-ling BRR buurr burrrr "we'll come out in the niiiight, everybody will knowwwww - we'll be laughing and singing!! and there won't be no fighting!!" ...fuuuUUUkkk and then continue Avey, keep going i'll follow singing w/ you into "We're not going underground" by Panda into YOUR lead/drop of, "I'm not goooooooinnn__gggg UNDER groundddd" avey - WOWWW ....fuuuuKKKK repeat that phrase a few times - that was FUN!!! nice nice little chilled spot there right into "COBWEEEEBSSSSSSSS - COBWEBSSSSSS" which rules with that mini- gong and all that other stuff, ugh ...fukkk i love how the, "everrr since I was a boy - i founndddd new waysssss to viewwww myy porridddgeee" rolls off the tongue ....fuuuukkkk nice song right into Seal-Eyeing's replenishing blissed-out melody hmm yeah, "the moment you realise watching vapour trails melt into the sky is not only the most constructive thing you can do, but the only real option that?s left" fits it real well as a description, ....fukkkk - BUT HEY im NOT done here we still got TWO more OPTIONS left after all this is WATER CURSES - the smiles/energy never let up although it's gonna get a bit more contemplative now cause we have STREET FLASH left but not yet cause i wanna hit on SAFER which is a massive Animal Collective track released on their Peacebone "10 but i feel like it would fit here too (on Water Curses) so here you gooo!!! - off the bat you'll prolly realize that this is unlike nearly anything from them (save for something off of Fall Be Kind or Spirit, but still) and things feel a bit anxious/paranoid which is strange from Avey but don't worry he's gonna make a bad thing good like we all can do whenever we WANT. "WhY-YYYY am i so SCAREEDDD of the shadows of the wall from yesterdayYYY???" - - "I turn and TELL my Dad, I saw ghosts in the park wooing girls with caaakkesss" - "i don't KNOW if there's any reaal daanger, but the creatures all knowww that it's safferrr in the darrkkkk", that specific line holds so much to me because to LEARN more from our world we gotta exit the dark - we can't be SAFE, sure.. things may seem "scary" but is there honestly anything to be TRULY afraid of here?? watching yourself constantly grow/change - convincing yourself that it's GOOD to do so and then knowing it is as you discover all sorts of new and beautiful things to pick up from. Becoming directly connected to your own mental stability/health... celebrating life and it's endless resources to evict joy from and then completely TEARING everything up having the highest amount of fun possible is what Water Curses is all about for me - Safer/Street Flash marks an uplifting from a heavy place or symbolizes an assurance/coping mechanism to remind us that EVERYTHING will be 0okay - you'll be back to your normal/ecstatic self soon after this slump.. when the "shadows on the wall" dissapear, you'll be FINE (it's almost over!). Around 1:39 of the loopy/coarse piano track is where Avey starts to regain himself - he recognizes that he has the ability to overcome any emotion and wants to encourage his audience that they do as well by using the relaying/back and forth of, "I don't know if there's any real danger buuuttttt, I-MMM alright if you're ALRIGHTTTTT - IM-MM-MM alright if you're ALRIGHT, man .. .I'M ALRIGHT IF YOU'RE ALRIGHt" it's so easy to agree with someone if the message is positive - and it's even easier to mirror an emotion of happiness//he says this all before achieving complete faith that he's fine from doing so with the growing screams/declarations of, "IImmmMMMimmMmMM ALRIGHT -- IMM ALRIGHTHTTTT.... im ALLLLLLLLRI--__-__-_GHTTTTTTTT" and breaking off into a COMPLETE oasis of a squeezing/blissful/radiant...FUUuufuUUUkkkk at it's climax of 2:57 animal collective has this INSANE ability of just shedding away absolutely any stress at almost any instant, they're so HAPPY - and they know EXACTLY why - that's how they do it time and time again, that's their formula for pulling such beautiful ...fuks from thin air. And on Safer they shine on that idea for me. You hear shaking within the background as a warm/lush vocal sample loops throughout the back, "She dabs her diamonds so they look like a decoy loverrrr". Panda's drum beats surging in and giving Avey's vocals and the lagoonish nature of the song an immediate spark. Avey continues this beautifully free melody channeling the euphoric bliss uprooted from the demeanor switch of the song, it's alllllll gooooood feeeeling. Right after Avey finishes declaring, "Don't make your troubles my funny troubles, because I've got troubles. Why you talk about 'em all the time?!?" and Panda's cymbal crashes keep the pace they pull the track into one of the most elated switches i've ever heard, "Like Cro-o--c-odiles!" right at 4:24 ...FUKKKK!!!! - Panda's humming pushing the song into such rich and nourishing vibes, everything completed replenished. At this point, Safer's purpose has been met and the remaning portion serves to bask in it. Avey's screams at 5:32, "Man, now.. doOoOnN'T GE-T-T TOO FREAAAKY ON MEE!!!" 5:41's squeals into a luscious/fresh and creative vocal melody ...fukkkk, the track continues off this hype taking in every happy moment imaginable until the track sweeps off into a dazy/exhausted lullaby and finds it's rest. To this day the only moment evicting more joy from within me exists in [[[[ Street Flash ]]]]. "DooesSSsSSs anyone in heeereeee get hit with INSiIIIDE-FEVERRRR???" Avey questions as the track starts up in a - trying to find someone to relate to. As far back as I can remember my life has always been fast paced/fun. I try to keep it that way. I can't keep jobs for over three months without switching to a fresh/new one, everywhere I go I try to make new friends and meet new people in hopes of fun/watching others grow/gaining knowledge on how to improve and move forward. To many people it's daunting/overbearing, my personality along with my laughter is a bit too much. I have a hard time staying in one place, I have to constantly be moving or challenged and I try to set that up for myself. School/video games as I was younger, friends/tennis throught early High School, Smash Bros/music my entire life. And now within the past year, that my passion for smash has recently ended all I was left with was music. I continued to listen to it fervently as I normally would, and enjoy it to the fullest.. but something within the back of mind never felt right or proper - where's the challenge? Who benefits from me just listening? Sure, I can share what i've heard - but is that enough? I began to see everything with such a dullish gray light instead of the vivid quality I recalled them having. Listening to music was strictly masturbation, no-one benefited. I had close to no passion for anything outside of it - I attempted to look for new things to do but at the end of the day I always found myself sitting in my room not caring about the day that followed, nowhere near comparison on how I recalled barely being able to sleep due to being so excited to jump into the next day and enjoy my passions/myself with others. I feel like at some point around the late teen/early twenties people trick themselves into being stagnant. College gears up for most of us or plenty of free time to do anything we choose, yet for some reason nearly all of us hit a slump in creativity/aspiration and choose to do nothing outside of what's already put in motion or planned out. Instead of exploring every single option available we choose to linger in one specific area of our lives that we have already deemed comfortable/enjoyable. We start to jade new opportunities because we feel as though the ones already presented are beneficial enough. Why do we limit ourselves? This is where the inside fever that Avey mentioned strikes, where the "couch fibers" start to keep you inside, where you start to whine about wasting your money - and where all the clocks around the room begin to die. Ironically, now that you're not out exploring all the opportunities life has available for you the fever has seeped into your initial passion/dreams that you set out for yourself and rotted them as well. Creative slumps grow larger, you lose sight of ever achieving the dreams you set up to achieve that everyone within your life wants you to accomplish - you become caught in your own pool of murk/definition of "jaded" time, "I'm so sorry I came in late this evening, but all the clocks around the town had died". Avey continues to apologize to the listener despite being constantly laughed at ("AHAHAHAHAHA") by the people "showing him all the things he's not doing, and instead of helping him - blocking him out", as if he knows deep within him he still contains his creative spark/desire to fulfill his aspirations (despite with others think) but can't come to terms with bringing them to light yet. A minute passes in the introduction and you arrive at the second portion of the song (1:46) caught within this gorgeous glowing melody, clicks and clacks heard echoing around the room. A dropped marble within shakes within a glass in the room hinting at a stir-up of inspiration, sniffs/coughs are heard throughout the background painting a picture of the room that you're currently residing in - containing so much potential but being kept down by a sickness. Panda's voice trials about in various pitches/jumping up and down trying to bring forth a cure. Avey whispers hopefully, "Well, uh -- just what i need, right? The morning light? The room (Panda coughs) we all have... I just listen tonight, and all we know - is all that I have. Is all in control." Avey begins to come to terms with the problem behind his creative block at 2:27 - you hear a slight chime kick the marble into motion/swirling at an increasing speed ...fuk, "The room is still a little hot and I don't break til a midnight shock. Are you coming out tonight pretend I am? Well, I just might" (revealing how he always makes plans to carry through with but at the end of the day he is just "pretending" and falls back on his promises to others). "The room is filled with ancient dates.Where I've been and what I ate." (rememberance of past relationships that you regret going sour/the beautiful food and people you've encountered). At this moment (2:56) Geologist brings forth a panacea to Avey's troubled mind ....fukkkk, a thick/warm fogs shrouds to room in response to Avey's admittance to his stagnancy - it's so proud and hopeful, driven to push him forward past these troubles, "The room is filled with gummy bears, electric shavers, ingrown hairs. I keep the curtains tied in knots you sleep on cotton, rest in cots." (your room is filled with junk that doesn't benefit anyone other than yourself - your curtains are closed because you prefer the dark to the day/constantly sleeping). Panda's voice grows in scattered shouts/yips (3:13) in reponse to Avey's realization - guiding him through it all in staggered bliss ...fuk, "The room is filled with catalogues, encyclopaedias, books enough. To keep me busy in the morning, sun sets fast without warning." (You use all these resources in gaining knowledge but only for your own benefit - you've become so obsessed with this satisfaction that you forget to go outside before the sun sets to interact with others). All of this Avey states, revealing to the audience that although they feel as though they're alone in their dread - others experience the same thing. He brings his true thoughts/evidence of his stagnancy forth to be criticized, aware of his murky attitude - open to humiliation, "The room is filled with cords and plugs, electronic translucent bugs." (room filled with internet, cell phones, games - scattered around your room like bugs, eating up your potential/worth" .... (3:33).... "And what's that crawling over there? What's that twitching - is it still ALIIIIIIII-I-I-I-IVEEEEEEEE!?!?!" .....FUKKKKKKKKK!!! Avey recognizes his passions laying beneath an unwashed t-shirt or the open pages of book and realizes that his aspirations had been hiding within the room the entire time, he just needed to take a few steps back to come to the realization of it. Then screams in a fervent passion under the contemplative thought of pursuing them once again. Street Flash incorporates the sound of a lagoon's tide beneath the looping vocals heard from throughout the beginning of the song but on this round they seem a lot more brighter, as if he's taken a step outside his house. Water Curses sits at the top of Animal Collective's career for me because of how marvelously it depicts the band's demeanor/attitude on how to approach life. Right before their rise to fame with Merriweather Post Pavilion we have Water Curses sitting in it's own sunny and aquatic world. It matches my personality traits and unlike any other album - depicts pictures within my mind of a full glass of ice-water sitting in a Texas sun, friends and family playing on a beach, the bouncing/zipping nature of how I dash about when I'm interested in something, my favorite color; the neon green of the album art - how intense and vivacious it glows (the color for Peach I use in Smash). It's songs contain themes of self- growth and assurance, the ability to become completely aware of one's sorroundings - use it's resources and then share them with others for the world to benefit from. Similar to an animal, Street Flash wants us to learn to live our life without restraint. Approach your body each day as if it's a new thing What regrets do you hold within your heart? How much time has been "wasted" on things others deem pointless? Stop worrying, none of that matters at this moment! All use of time is meaningful with proper intention. Whenever you find yourself caught with "inside fever", go outside to meet new people and chase those ambitions again. Fill your life with verbs instead of nouns. Animal Collective carries this theme throughout so many of their songs, and throughout Street Flash the more items Avey possesses the less fulfilled his life seems until he comes to his realization. Unclutter your mind and take part in the life that the television/laptop monitor within your room begs you to exist in each day. Animal Collective seems as if they're always one of the quickest bands to throw criticism onto - which strikes me in a strange way because they're such naturally talented musicians. Nearly all of their music on lyrics alone serve the purpose of making their audience appreciate things, look at life from a different perspective - and enjoy themselves to the fullest. When you throw in the actual mood/texture of the majority of their sounds (debatably all), there's almost no way that you can deny that one of their main reasons behind getting behind their instruments is to make their audience feel good, "You have your fits, I have my fits - and feeling is good". People become too quick to throw labels onto something they have took the time to fully understand. With Animal Collective, I always hear the terms "childish" and "immature" thrown around as if they're just mindlessly toying with their instruments with no thought or reason. They may approach a concept/idea similar to how children approach a new situation to unravel it's potential, but childish? Yeah, their music is blissful/happy more than eighty percent of the time but how does that necessarily pin on the qualities of a child? I feel as though the misconception that happiness must go hand in hand with immaturity is too dominant in our culture and should be put to an end. Animal Collective seeks progression, their constantly moving - becoming their own animals. Running wild and having their own genuine fun while still learning more and more each release and spreading joy to all sorts of audiences willing to as well. They're my favorite band, and in a way my best friends. Nah, they're not childish - they're ALIVE. Since discovering Water Curses, questioniong Street Flash's lyrics has kept my ambition at a constant reminder. Sure, you're here - but are you LIVING!?! Are YOU, "Still ALIIIIIIII-I-I-I- IVEEEEEEEE?!?!?!" || song/album: || mood/vibe: "all the things that i relate to well, like authors and painters - transparent paper wings, that float above me while i make the room more natural, so we could die in it and die in it and die" (do it all) x (do it all) LOOOOL im so DONE with this talking about music for a good while now, im gonna go play some basketball w/ some friends :') peace dudes!!! (holy shit this took forever omfg LOL you can't even see album arts when scrolling just blocks of text near the end.... niiiice)
Show/Add Comments (45)


Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Site Copyright 2005-2014
All Album Reviews Displayed With Permission of Authors | Privacy Policy