plane
Lewis
Emeritus

Reviews 15
Approval 100%

Soundoffs 58
News Articles 9
Band Edits + Tags 13
Album Edits 49

Album Ratings 45
Objectivity 21%

Last Active 01-04-23 4:38 am
Joined 04-15-07

Review Comments 168

Average Rating: 4.87
Rating Variance: 0.07
Objectivity Score: 21%
(Not Balanced)

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5.0 classic
Air France No Way Down
Animal Collective Feels
ANOHNI HOPELESSNESS
An album ahead of its time by virtue of its tardiness. We are too late; nothing to do but wait for drone bombs, execution, hopelessness. Fuck to "4 Degrees," laugh at "Obama," consider yourself above it all; turn off the news. You're a piece of shit. ANOHNI is a piece of shit. Daniel Lopatin, I don't know, he probably sucks too. Hudson Mohawke can definitely get bent. A peculiar album where every song's a ballad without a single track functioning like much of anything, just all escalating synths and battering rams and pluvial music beds. Party like the doomsday clock's at 11:59.
Brian Eno Another Green World
Burial Untrue
Charli XCX Pop 2
Cindy Lee Diamond Jubilee
cLOUDDEAD cLOUDDEAD
Cocteau Twins Heaven or Las Vegas
Deerhunter Microcastle
Destroyer Kaputt
Fuck Buttons Street Horrrsing
Gas Pop
Grouper A I A
GZA Liquid Swords
Iron Lung Sexless // No Sex
Jenny Hval Viscera
Jenny Hval The Practice of Love
Julia Holter Have You In My Wilderness
King Crimson Red
Krallice Years Past Matter
Life Without Buildings Any Other City
Madvillain Madvillainy
My Bloody Valentine m b v
Shabazz Palaces Lese Majesty
Sophie Oil of Every Pearl's Un-Insides
Storm and Stress Under Thunder and Fluorescent Light
Talk Talk Laughing Stock
Teebs E S T A R A
The Avalanches Since I Left You
The Beatles The Beatles
The Incredible String Band The Hangman's Beautiful Daughter
The Knife Tomorrow, In a Year
The Microphones The Glow Pt. 2
Unwound Fake Train
Women Public Strain
Yo La Tengo I Can Hear the Heart Beating as One

4.5 superb
Charli XCX Brat
Charli XCX Brat and It’s Completely Different but Also...
Gotta be one of the most interesting and genuinely fun mainstream album cycles of recent memory. Remix album hits a similar sweet spot as HIFN where it might have existed in as many forms months/years before it took final shape (esp. those initial singles during the Brat campaign), but its concerns are up-to-the-minute. Works, as Brat does, on multiple levels: homage to house music tradition, contemporary pop cycle expectations, and a continuation of that album's diaristic approach to blurring the line between the creator and her character, a reaction to a career shift long in the making and perhaps still truly unexpected. How fitting that an album about sublimating one's neuroses/anxieties/bad habits into art meant to also reinforce notions of control/autonomy/success should treat its reprisals as opportunities to reconsider its themes from completely new vantages, spiritually and melodically and culturally, while, smartly and with commercial stratagem, keeping some baser impulses fully intact (looking at you, Billie and Lorde, both of whom flip the gravity of their tracks regardless). Is it deep? I think so; the original album has a raw, unfettered quality that feels genuinely self-conscious and aspirational, a creative self-reckoning that is effective as pop music (phew) and genre experiment (yikes). So forth goes the remix to shrewdly capitalize on the momentum of its summer and do something altogether more surprising: stack artist after artist into the churning content machine, and still remain as smart/funny/sexy/revealing as its predecessor, and yet, completely different.
Jenny Hval Apocalypse, girl
More specific; more abstract. Incisive, intimate, a stronghold of femininity, and yet.
Jenny Hval Classic Objects
Jenny Hval Iris Silver Mist

4.0 excellent
Jenny Hval Innocence Is Kinky
Jenny Hval Blood Bitch
Sophie Sophie
A strange and vibrant pop album. I am struck by just how effective SOPHIE is on its own terms, and would have once considered this a refreshingly minor work on the way to bigger, more avant ideas, were we so lucky. Perhaps her brother could have lied about how much was finished, and I would have believed him. The album must now bear the weight of its namesake, assembled by family and friends as tribute. The attribution can be amended as such: "...and Friends," for the doubters. But it feels right, in the end, to accept the story as written: a nearly-completed collaborative album has since been completed by the people who knew the artist best, and who were foundational to the process of making the album to begin with; a collaboration that feels at peace with the life it channels because of something central and unknowable about its creation. Perhaps it's delusion. But I find it quite moving in its explorations of change and belonging, of finding the forever in the disappearing, in the illustrative way it pivots from expansive, existential ambiance into plasticine bangers about flexing and deserving. RIP SOPHIE, you would have loved SOPHIE.
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