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| Wally's Best of '23
Every year I do a write up for my website, but I figured I would double dip and post the list here as well. If you're curious about my entire thoughts around an album, as each of these posts is just a snippet of my write-ups. I'll post the link in the comments. List moves from my 30th favorite album to my first. | | 31 |  | BRUIT
Apologie du temps perdu, Vol. 1
Honorable Mentions:
Apologie du temps perdu, Vol. 1 BRUIT (Ambient)(EP) Electronic, atmospheric, post rock.
Downer’s Grove Kevin Atwater (Indie)(EP) Midwest, gloomy folk vibes.
Momentum Their Dogs Were Astronauts (Progressive Metal) Bombastic, overblown instrumental metal.
Quaranta Danny Brown (Hip-Hop) A sober and dour reflection on being 40 from rap’s goofiest oddball.
Another triumph of ghetto engineering Open Mike Eagle (Hip-hop) B-sides from one of underground hip-hop’s best albums from 2022. | | 30 |  | Better Lovers
God Made Me an Animal
God Made Me an Animal is an absolute ripper of an album, the sonic equivalent of wearing that sexy dress to your school dance after your boyfriend breaks up with you. The EP is a statement (or warning) to former band mates and friends, a proverbial “look at how much better off I am without you.” Shots are fired across the bow. Grenades are tossed with reckless abandon. While time will tell if this act can sustain the power and substance to live up to its predecessors, it certainly will go down as one of the greatest supergroups to be born in the 2020’s. As Punciato shrieks on opening track “Sacrificial Participant”, “If you don’t tear them down, you can never build.” I’m just happy to have the boys back. | | 29 |  | Pupil Slicer
Blossom
One of the things I find so terrifying about alien movies is the idea of becoming a vessel. You’re yourself, but something else. You’re in the passenger seat as some other entity grips the wheel. Blossom is ultimately an exploration of this concept, something that is science fiction for some, and a social issue for others. The music itself mirrors this experience, at times tranquil and floating, at others violent and desperate. Vocalist Kate Davies howls and shrieks through lyrics about body possession and dissociation while metalcore riffs shapeshift between thrash, black, and nu metal influences. It’s, at times, an overwhelming and consuming experience (this is a loud album), but hands down one of the most intense and passionate metal albums of the year. | | 28 |  | Anohni and the Johnsons
My Back Was a Bridge for You to Cross
If the previous album was the embodiment of violent change: ravaging, decimating, and all consuming, then this album is the opposite. It’s the kind that comes from looking at one’s reflection in the mirror of a calm pond, the revelations that come to one as they’re walking through an autumn forest. On My Back Was a Bridge For You to Cross, ANOHNI directly addresses the listener over tranquil and gently swaying R&B tracks, not condemning but merely asking them to reflect on love, acceptance, and equality. It’s a spiritual successor to the great R&B albums of the 70’s that explored the concept of loving those that don’t look like you; instead asking the listener to love those that don’t LOVE like you. It’s a heavy album, to be sure, but one that’s necessary (and will be necessary) in the years to come. | | 27 |  | Fucked Up
One Day
One Day is a wild departure from Year of the Horse… and by that I guess it’s a return to form? Packed full of stomping punk riffs (“Found”) and fist pumping anthems (“One Day”, “Roar”), it’s a more straightforward affair than its predecessor. And while there were certainly higher-prog elements that I missed from the album, there’s still plenty of weird riffs and smart songwriting that make the album an engaging listen. Ultimately, it was the collection’s thematic message that drew me in. The album poses the question that we all inevitably face: “What would you do with one more day?” Songs are hopeful and filled with bright production, providing the album with some levity that, if done by another group, might have found the music spiraling into some dark places. Given the events of the past five years, I think we’ve had enough darkness for a while, don’t you? | | 26 |  | Gorillaz
Cracker Island
It’s hard to talk about the Gorillaz without acknowledging two things. First, that their first three albums are indisputably awesome. Second, that their recent output has been lackluster. Sure, there have been songs that have broken through the static of lukewarm albums, but there hasn’t really been anything that has felt cohesive or inspired. Cue Cracker Island, a release whose first two singles were the sole reason for the return of my belief in our beloved, animated band. Poorly timed to release in February (seriously… who let Damon do that?), this album was made for the summer. Tracks like “Cracker Island” and “Silent Running” groove along to the driving beat of a speed boat, while others like “New Gold” and “Tormenta” float through a haze of pastel colors. For the first time… ever, the Gorillaz were one of my top artists of the year and this album accomplished that single handedly. | | 25 |  | Aesop Rock
Integrated Tech Solutions
At this point, not much can be said about Aesop Rock that hasn’t already been said. The dude is a loquacious lyricist, whose ability to turn a phrase has only gotten stronger as he’s shifted from weaving abstract images together to a more linear storytelling. Aesop continues to impress with his ability to completely dissect topics, starting with something seemingly simple (see “Pigeonometry”, a song about… you guessed it… drawing pigeons) and turning it into something profound, and in my opinion is one of the sharpest MCs in the game today. In a genre that seems to be shifting (at least in the pop sphere) towards a fairly cookie cutter formula, Aesop demonstrates once again how the nerds and weirdos are the ones really making waves. | | 24 |  | Caroline Polachek
Desire, I Want To Turn Into You
Y’all… I did it. I got a pop album on my year end list! Ignoring the fact that this one was critically acclaimed and will, undoubtedly, make many reviewers and music consumers’ year end lists, I genuinely enjoyed this one. On Desire… Palochek has crafted a collection of songs that feel warmly nostalgic (“Pretty Impossible” feels like something dropped in the 90’s-early 00’s) while simultaneously living in a space that is solely of her own creation. And while her voice is an obvious starting point for talking about why this album is so strong, I think what I’m drawn to most about this project is its versatility. Each song is a different snapshot of some popular subgenre, ranging from the flamenco beat in “Fly to You” to the fragile atmosphere of “Hopedrunk Everasking”. Palochek is truly a pop virtuoso, the equivalent of an artist painting in different styles or an athlete succeeding in multiple sports. | | 23 |  | HMLTD
The Worm
On this list we’ve got all sorts of concept albums. If you’ve been following my year end reviews, you know I’m a sucker for them. We’ve got dragon apocalypses. We’ve got ghost love stories. We’ve even got tales of interdimensional survival. But snagging the award for “strangest concept album of the year” goes to HMLTD’s latest output, an album about… a giant worm? Or is it? To be honest, I’ve read plenty of reviews and notes and I still can’t really make heads or tails about what the overarching story is really about. All I know is there’s a worm, it’s all consuming, it’s maybe a metaphor for hate or base human desires, and that this is a wild album. Heavily inspired by musicals, 70’s psychedelic rock, and a little bit of prog, this album is a campy, unhinged celebration of experimentation and exploration. | | 22 |  | Sufjan Stevens
Javelin
If Carrie and Lowell was a reflection on his parents: the turmoil he experienced growing up, the mix of emotions he felt reuniting with the mother who essentially abandoned him, then Javelin is an honest portrait of his relationship with his partner who passed away in April. Beneath gentle picked guitar strings, tinkling electronics and piano notes, Sufjan recounts stories of love as it truly is: sometimes angry (“Javelin (To Have and To Hold)”) ,sometimes heartbreaking (“So You Are Tired”), sometimes lonely (“My Red Little Fox”), but always warm, honest, brave, and true. Stevens navigates these feelings of love and losing love so beautifully, so intimately, that this album will stay with you long after its final, hope filled song, “There’s a World”, plays. | | 21 |  | Danger Mouse and Jemini
Born Again
Born Again is, in many ways, a time capsule. Danger Mouse’s beats are closer to the boom bap rhythms of the time, and Jemini the Gifted One’s flow closer to Black Thought’s than Drake’s. One would think that an album being written twenty years ago would sound dated, but the energy is so palpable that it’s hard not to find yourself bopping your head to it. Jemini’s rhymes swing between braggadocious to cautionary, and his flow is that of someone who is a veteran of the game instead of someone who wrote two albums and dipped. Songs like “Where You From” sound like something I heard before football games in the late 00’s, whereas jams like “Born Again” glitter and jive by like something written in the 90’s. | | 20 |  | Squid
O Monolith
O’ Monolith is surreal at times, jammy at others, grooving in some spaces, shapeshifting and angular in others. It lives in the same space as some of the great experimental albums of the 70’s: unafraid to explore spaces that are strange or at the very least unfamiliar. The music video is a great visual representation of this. The song “Swing (in a Dream)” starts off fairly straightforward, much like a game of one on one basketball, but as the song develops it becomes more chaotic. Other sounds start taking up space and, before you know it, the original groove is attempting to play around all these other music moments. There’s an anxiety to a lot of the songs on this album that make it an arresting listen and one of the most memorable albums of 2023. | | 19 |  | Knower
Knower Forever
From front to back, this is a collection of Cole’s and Artadi’s strongest material, a jazz fusion album whose sound ranges from in-your-face funk bops (“I’m the President”) to smooth jazz, R&B jams (“Real Nice Moment”). Cole’s drumming is as floaty as ever, applying ghost notes as egregiously as one would use seasoning on a piece of boiled chicken, and Artadi’s tongue-in-cheek lyrics hold enough wit and attitude to provide a youthful spunk to their blend of lo-fi and high energy jazz. And while their respective performances are incredible, it’s truly the arrangements that make this the memorable album that it is. Relying on the talents of Dwayne Thomas Jr., a.k.a. Mononeon (bass), Rai Thistlethwayte (keyboard), Jacob Mann (keyboard), and a literal orchestra of brass, woodwinds, and strings, each song is absolutely reverberating with creative energy. | | 18 |  | Psychedelic Porn Crumpets
Fronzoli
In 2021, one of my favorite albums of the year was Psychedelic Porn Crumpets’ SHYGA! The Sunlight Mound. It was a warm, fuzzy collection of psychedelic, garage rock that felt akin to dancing in the summer sun, riding the buzz of whatever your drug of choice is. With bands like this, I expect fun but not necessarily a whole lot of variation (unless you’re King Giz in which case… it would be foolish not to expect it). Well, imagine my surprise when Fronzoli dropped late this year, an album that still incorporates plenty of overdriven guitar riffage but leans more heavily into an almost metal aesthetic. There are still plenty of lighter moments, but even those are coupled with some goliath riffs that come kicking down your door like your drunk neighbor on a saturday morning. | | 17 |  | Night Verses
Every Sound Has a Color in the Valley of Night...
That is, essentially, what it’s like to listen to Night Verses’ latest album. At times haunting and atmospheric, at others swirling and chaotic, it’s hard to believe that this wall of sound can possibly be created by only a trio of musicians, but if you’re looking for metal that will leave you with a sense of awe and wonder, this is the album for you. Guitarist Nick Pirro, bassist Reilly Herrera, and drummer Aric Improta are on another level of musicianship, each a virtuoso with their respective instrument. This is an album that will possess you with catchy riffs and otherworldly, jaw dropping performances. If you’re looking for a band to wow you, and inspire you to never pick up an instrument again, this is the group to do it. | | 16 |  | Runnner
Like Dying Stars, We're Reaching Out
There’s a lot of bombastic, over the top music on this list. In general, I think I gravitate towards compositions that are grandiose, that become something bigger than where they started. So, if you’re looking for an album about the quieter moments in life, one that seems to capture the beauty in the seemingly insignificant memories, this is the album for you. Noah Weinman, a.k.a. Runnner, does this beautifully, crafting songs that seem to live in those liminal spaces of life, each song a snapshot of friends and lovers from the past year, a look back on the growth we’ve made, the tears we’ve cried, and the lives we’ve lived. This review is simple and sweet, but then again, so is this album. Put this on and watch the sunset. You’ve earned it. | | 15 |  | Blockhead
The Aux
I can’t emphasize how wild the features list on this album is. If you’re anyone who has been paying attention to the underground of hip-hop, seeing Quelle Chris, Danny Brown, Billy Woods, Open Mike Eagle, Aesop Rock, among a slew of other names should be enough to turn your head (I discovered Bruiser Wolf on the sultry “Papi Seeds” and… damn, I’m an instant fan). Much like the title suggests, it very much feels like a who’s-who of hip-hop, a party where one person after another is tossing on their favorite song from their artist of choice to try and one up the other. The result is an album that is chaulkful of masterful lyricism, creative beats, and memorable moments. It’s a celebration of everything that hip-hop has been, is, and will be, a reminder to the people who come to the genre seeking poets that there are still some really great dudes making beats out there, you might just have to seek them in the shadows. | | 14 |  | JPEGMAFIA and Danny Brown
Scaring the Hoes
Scaring the Hoes is a perfect marriage of underground darling Danny Brown’s clever, horn-dog lyrics and JPEGmafia’s punk aesthetic and production. Both MCs are absolutely laying it down on this album, leaving nothing behind. Over beats that have no business going as hard as they do (“Garbage Pale Kids” samples a Japanese ramen commercial), Brown and JPEG trade bars and jabs with a flow so natural one might think they’ve been doing this for years instead of this album representing their inaugural partnership (with the exception of JPEG providing beats on Danny Brown’s 2019 album uknowwhatimsayin?). It’s one of those artistic marriages that is so natural it’s impossible to imagine either artist crafting this album on their own. It isn’t the most accessible hip hop album on this list, but it is one of the most engaging albums to be dropped all year. | | 13 |  | King Gizzard and The Lizard Wizard
PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of...
I have a love/ meh relationship with King Gizz. At their best they drop albums that infuse their signature brand of psychedelic/ garage rock into the flavor of the month, crafting a collection of music that is uniquely them: bright, colorful, and jammy. All too often, however, I find myself exhausted by the end of the year, having listened to four of their albums released over the past twelve months that just feel like with a little bit more time in the oven the album could have been really special. And if I’m being honest with myself, I will preach the word of King Gizz but have found their recent years of output a bit closer to the “meh” side of the scale. Well the Gizz must have sensed my apathy, because their first of two releases this year came out the gate firing on all cylinders. This year’s offering sees the band once again returning to an aggressive sound (akin to 2019’s Infest the Rat’s Nest) with a heavier, thrashier take on their respective genre. | | 12 |  | Hypno5e
Sheol
Hypno5e are the masters of tension and release. Their albums are composed largely of massive metal songs that accumulate mass as they roll onward. Sheol is no different, and although the band claims that it is one of their lighter albums, make no mistake that this album is just as heavy and brooding as its “sequel”, 2019’s A Distant (Dark) Source. And while it can be appreciated on a song to song basis, Sheol is at its best when the listener is fully immersed within the sonic landscape the band creates. Feel the tension of massive opener “Sheol Pt. I: Nowhere” as it builds into “Sheol Pt. 2: Lands of Haze”. Bang your head as the closing minutes of “Bone Dust” come descending down upon you like the crushing reality that the memory you once had is not what it seemed. This album will lift you up only to break you down. It will draw you back into the haunted lands of your own Sheol. | | 11 |  | Jeff Rosenstock
HELLMODE
Titled Hellmode, Jeff Rosenstock’s latest album is as much about healing as it is about our current, global hellscape. Many songs (“WILL U STILL U” and “DOUBT”) are about this healing process, this forgiveness of ourselves and our shortcomings. There are still plenty of songs that have a lighter meaning (the bouncy “LIKED U BETTER”), but even in these moments Rosenstock finds time to reflect on his own actions and perceptions. The result is a punk rock album that is as cathartic as it is fun. It’s the kind of experience that, by the end of it, leaves you feeling refreshed, understood, and ready to climb out of your own hells. Let’s put our demons aside for a minute and dance it out. You’ll feel better, I promise. | | 10 |  | Billy Woods and Kenny Segal
Maps
If 2019’s Hiding Places was a dreary rumination on gentrification, mortality, and the dark places we choose to ignore looking at, then Maps is its brighter, more colorful cousin. Over a slew of memorable beats, Woods weaves his trademark dry, biting witty remarks, his lyrics more poetic in nature than linear or sing-songy. Indeed, this album feels like the experience of touring itself, as songs end and start like waking up in the back of the van only to find yourself in a new town, a new experience. Songs like “Babylon by Bus” feel a little more reminiscent of old school boom bap, where as “Year Zero” (featuring Danny Brown delivering some of this year’s funniest lyrics) trudges along to a nightmare fueled lo-fi beat like someone driving through the shell of a bombed out city. In this respect, there’s a little bit of something for everyone and while Maps can be seen as one of Woods’ more accessible releases, this is by no means a comment on the depths of lyricism... | | 9 |  | Young Fathers
Heavy Heavy
On this list, more so than last year, there are a lot of albums of celebration. I mentioned early in my Jeff Rosenstock write up my hypothesis for this, but coming in at my number nine spot is an album that is very much a sonic celebration, a dance party that incorporates elements of soul, West African music, psychedelic, and pop. It’s an album that is warm and welcoming, a collection of songs that feels cohesive and yet impossible to pin down. One moment you’re stomping and clapping to the drum and bass of “I Saw”, the next you’re swaying and reflecting to the tranquil, M83-esq atmospheric build of “Tell Somebody”. It’s an album that’s a unique experience and unlike anything I listened to this year. | | 8 |  | Yves Tumor
Praise a Lord Who Chews, But Does Not Consume...
From the first, anxiety breaths of “God is a Circle” to the groovy, swinging orchestral arrangements of “Ebony Eye” this is a brilliantly composed (and produced) album that surprises as much as it pays homage to the sounds of some of the greatest art rock albums of the 90s. It’s a short listen (clocking in at around thirty-seven minutes) but in that time Yves Tumor manages to seamlessly weave R&B, funk, psychedelic, electronic, industrial, and alt rock into an exciting, gripping album. In many ways these sounds aid Tumor’s thematic reflection on their own upbringing, exploring topics of religion, mortality, and love, serving as almost a time machine into the music that Tumor grew up with and how, by referring back to those genres, they’re taking us back into the space they occupied when they were younger and being introduced to this grandiose topics. It’s sexy. It’s raw. It’s emotive. It’s got swagger. It’s, essentially, everything that rock and roll was built on and everything it shou | | 7 |  | Einar Solberg
16
Ultimately, this album is a celebration of Solberg’s influences, both personally and musically (two of the songs feature people important to his life: his sister (Star of Ash) and brother-in-law (black metal artist Ihsahn). Each song has its own personality, from the cinematically epic rock song “A Beautiful Life”, to the orchestrally composed “Where All the Twigs Broke”, to the metal tinged “Splitting the Soul” and it’s fun to hear everything from Massive Attack to Andrew Lloyd Weber blended together. For fans of Leprous, this is a tasteful deconstruction of the music that Solberg brings to the table when focused on his main band, a way for Solberg to try his hand at writing songs that are representative of these different musical masks that he weaves together. It’s also a glimpse into some of the pivotal moments in Solberg’s life, but you don’t have to be a fan of Leprous to enjoy this album, any music fan can appreciate this solo artist showcasing all the genres that he loves. | | 6 |  | Periphery
Periphery V: Djent is Not a Genre
The most beautiful moment on this album, and possibly their whole discography, comes with the song “Thanks Nobuo”, a tribute to the Final Fantasy composer Eumatsu. Over lush strings and epic choral sections, the band writes a song about accepting the past and yourself, finding the strength within, and loving your brothers. The song is a tribute to a man whose video games have made a huge impact on the group (you can hear his influence in the orchestral sections spread across albums) but it’s also a love letter to each other, a thanking of one another for accepting each other, flaws, histories, and quirks in all. It’s touching, and as the song dissolves the listener is left with a lush few minutes of serenity. It’s the perfect breathing room after a metal album that challenges its listener’s attention spans and is filled with riff after riff, and a message to fans as well: that after all our hardship there is light. There is peace. | | 5 |  | Haken
Fauna
Fauna is the most experimental album in their discography, not sticking with one aesthetic like the 80’s prog infused Affinity or the 70’s inspired The Mountain, but rather serving as a collage of their past works. Each song is a kaleidoscope into their sound, and the result is an album that is as cohesive as it is a perfect starting place for new fans. Songs like “Taurus” and “Beneath the White Rainbow” have a heavy/djent quality much like Vector/Virus. Subsequently, “Elephants Never Forget” has a circus-esq sections which sounds like something from their earlier work. The first album since their EP in which keyboardist Peter Jones joins the crew, there’s a certain levity within the music that has been lacking since Aquarius (see the pop-y “The Alphabet in Me”). It’s a fun exploration of their discography and, whether you’re a new fan of the band or someone who has been following them from day one, there’s a little something here for everyone. | | 4 |  | SKECH185
He Left Nothing for the Swim Back
In a year where Danny Brown and JPEGmafia crafted the year’s wildest hip-hop release and Billy Woods established himself as the king of the underground with yet another right hook of an album, it’s hard to imagine a release topping either. Enter Skech185, yet another artist on Woods’ Backwoodz Studioz label, and hands down one of the hungriest artists I’ve heard in a hot minute. On his debut album Skech spits venom over nine tracks whose beats range from banging to anxiety-inducing. His flow never relents from barking, and he sounds more like a slam poet with a megaphone shouting up at God than an MC with a microphone. His wordplay is phenomenal, and he comes across as someone recounting a story, each tale a cautionary one. The result is an album that is unrelenting and furious and the reason why this album ranked so high on my list. It’s refreshing to hear someone so hungry to create gripping art. | | 3 |  | Earthside
Let The Truth Speak
But eight years is a long time to wait, especially in today’s society that devours music in singles and soundbites. In that time an insurmountable level of expectations were set (at least in my mind), that inevitably seemed impossible for the band to reach. Cue the band’s release of the lead single and closing track for the album: “All We Knew and Ever Loved”, a song that is Hans Zimmer as much as it is Leprous. It was a wild but important single to release, a statement that let fans know big things were coming, if only they might hold out a little longer for new music. Well hold out for two years we did, and the fruits of our patience and continued support is an album that addresses the few shortcomings of its predecessor, and elevates its strong elements to another level. | | 2 |  | Geese
3D Country
That’s 3D Country, a blend of post punk, funk, rock, country, and boogie that simply cannot be defined by one genre but rather by an attitude. It’s goofy, wild, adventurous rock music that has the swagger of a group whose more than just two albums into their career. Each song is a drug fuelled romp into 70’s inspired rock, each twist and turn just as colorful and as inventive as the last. Over solid blues/ funk rhythms laid down by bassist DiGesu and drummer Max Bassin, lead singer Cameron Winters croons, bellows, and hollers songs about love and self and ego death with a performance that can only be described as “bonkers”. | | 1 |  | TesseracT
War of Being
The pandemic did a doozy on us. It tore apart families and friendships. It revealed our worst impulses. It forced us to stare into the mirror, to stare into the abyss that lay within self, to question our mortality, our morals, our goals. For many people, many talented artists, it forced them to make a decision: do we really want to keep doing this? These past three years we’ve seen so many bands, musicians, artists disband and leave their art, but we’ve also seen others rise from the smoldering ashes, pull each other up, stand among the wreckage and make a statement.
And in the case of TesseracT, deliver the performance of a lifetime. | |
WalrusTusk
01.19.24 | For anyone curious about the full write up, here's the link. Cheers!
https://kevinjasica.com/2024/01/16/top-30-albums-of-2023/ | cylinder
01.19.24 | Nice write-up for Maps. I love the line “Indeed, this album feels like the experience of touring itself, as songs end and start like waking up in the back of the van only to find yourself in a new town, a new experience.” So true and well-put. Amazing album | WalrusTusk
01.19.24 | Thanks! I really loved how that album incorporated both of their trademark sounds, but was wholly unique from "Hiding Places". At this point, I don't know if it's possible for the two of them to collaborate and misstep. | DoofDoof
01.19.24 | good to see 28 there - seemed to get overlooked by most people | WalrusTusk
01.19.24 | I have a distinct memory of listening to this album for the first time while nursing my daughter in the early morning. Such a powerful album which is strange as to why it does seem to have been skipped over on a lot of lists. | WalrusTusk
01.19.24 | Wait... it didn't even make the staff top 50 list? That's wild... | DoofDoof
01.19.24 | Yeah, for me it is top 10 let alone top 50.
Biggest return to form of the year and from a really highly thought of song writer and vocalist too :/ | WalrusTusk
01.19.24 | I haven't checked out any of the group's previous material, but this has definitely encouraged me to do so. | DoofDoof
01.19.24 | ‘I Am a Bird Now’ is at least the equal of this one and an essential and best next stop I’d say | WalrusTusk
01.19.24 | I was actually going to ask if you had a suggestion for what to check next. I'll put it on my short list! | Ladron93
01.19.24 | 28, 24, 19, 8 and 1 are good picks.
I adore Caroline Polachek's latest album. | WalrusTusk
01.19.24 | I think Knower often gets overlooked for being a little goofy and not "hard" jazz, but their shit is so catchy and well composed that it's hard not to like it. | BlazinBlitzer
01.26.24 | 12 is so underrated; they've got a really nice prog metal/post-metal hybrid thing going on. Great write-ups, too; the Caroline Polachek one is especially affirming.
Also, "I think Knower often gets overlooked for being a little goofy and not "hard" jazz, but their shit is so catchy and well composed that it's hard not to like it." [2] | WalrusTusk
01.26.24 | I first encountered Hypno5e on this site with the release of "Shores of the Abstract Line" and have been enamored ever since. They're one of my top ten Sputnik discoveries.
Polachek's album was so fun for me. It's hard for me to be draw to straight pop, but this one was weird and experimental enough for me to dig it. It's a character flaw of mine for sure.
I appreciate your kind words on my write up as well. It takes me about a week to compose, edit, re-edit, and then submit. So thank you for actually reading it haha. |
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