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Last Active 02-03-15 8:16 pm
Joined 01-01-12

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Between the Buried and Me Alaska
Coming from a Colors-only listening history, I gotta give it up for the comparative tangibility and innocence of this heavier endeavor - they sound scarily driven and ambitious yet were still playful enough to end on a sunny goofball ditty called "Laser Speed", still metalcore enough to include a bro-basher throw-down called "Croakies and Boatshoes". It's not as intricate or sprawling or conceptual as its successor(s), but it also feels less labored, less rocky, and less lofty. Biting psuedo-celebratory line from "The Primer": "2005 / welcome to perfection". They might've been onto something there.
George FitzGerald Fading Love
Never inching even remotely close to any form of grandiosity or succumbing to helpful pick-me-up boosts, this is straight-up late-night mood-pop that could easily transform into an assortment of dance floor bangers if not for the hushed house beats and subdued-bordering-on-completely-detached vocals. Its restraint can get repetitive - three of the four instrumentals are blatantly voiceless mimicries of the non-instrumentals - but if said restraint stands strong and continuously offers up captivating slices of alienated coherence, I'd say that's fair-enough restitution.
Pete Townshend Empty Glass
Pantera The Great Southern Trendkill
An improvement over Far Beyond Driven in that it swaps out some of the sluggish dragger despondence for riotous thrash-against-the-media vehemence. The dirges are a bit tighter and less self-serving, the bipolar duel of "Suicide Note"'s is preferable to the shock-value depravity of "Good Friends and a Bottle of Pills" any day, the screaming is Seth Putnam-assisted, and "Drag the Waters" may be their groove-pinnacle. Questionable Phil-drivel still abounds - he confirms his cock is getting hard and there's something about "a nazi gangster jew", but then there's the show-stopper show-portrayal "The Underground in America"; which while painting a
Jamie xx In Colour
The entwinement of softly minimal rave-dayz-homage and cutesy commercial aspects is bound to garner some hate from apprehensive electronic aficionados, and I'd have to concur that there is a breezy elementariness to these compositions that can suggest banality - but given the harmony between the two fields, I'd also say it's for a decent-enough cause. You could do much, much worse than "Gosh", "Hold Tight" and "The Rest is Noise" for doing alot with a little, the mood-tone is fun yet never obtrusive, the actual-vocal tracks desultorily shoved in with the sampled-vocal tracks are the crucial dimension - fellow xx'ers slip in some intimacy assi
Holly Herndon Platform
Twitchy twisted electronic that is supremely suitable for the internet/ADD-age - i.e. disorienting, filled with ideas, and maybe too busy for its own good. A seemingly boundless array of voices/computerized et ceteras/inscrutabilities zipping in and out of your periphery before getting sucked back into the sound-collage-vortex does its best to engulf any musical directness that may be buried in the depths - though there are a few definitively melodic moments, on others you really have to dig for it, and some are just plain out there. The fluidity of these arrangements can be surprising considering the complexity and celerity of 'em, and the v
Bitchin' Bajas Transporteur

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