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Last Active 12-18-17 12:03 am
Joined 09-27-10

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Average Rating: 3.39
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5.0 classic
Boards of Canada Music Has the Right to Children
Bomb the Music Industry! Goodbye Cool World!
The best Bomb the Music Industry! record. And I mean it this time: Goodbye Cool World! is the best. It took me a long time to see its perfection too, because for every "Side Projects Are Never Successful" and "King of Minneapolis" is one or two songs that you, more likely than not, will not see on most "Best of BtMI!" lists. Goodbye Cool World! is composed mostly of overly eclectic, downright unlikeable songs like "Fuck the Fans" or "My Response to An Article in Alternative Press" that (at first) seem to pale in comparison to the scores of immediate classic songs that constitute BtMI!'s later discography, but the truth is that the weirdest songs on Goodbye Cool World! are wildly under-appreciated, brilliantly subtle and more impenetrable than anything Jeff Rosenstock has or will ever do. These cuts off the record in particular are harmonically jarring, goofy, and breach some real high level of esoteric in that they don't seem able to stick at all, owing to incomprehensible lyrics, a massive shedding of pop anthemics, bullshit hardcore punk spasticity, electronically mutilated ska rhythms and seemingly half-assed acoustic ditties. Somewhere between them all, however, is the heart and soul of the record, and the heart and soul of a circa-2006 Rosenstock, who brings together the most insanely incohesive musical pallet of his career and makes Bomb the Music Industry!'s most cohesive album with passionate performances, varied, purposeful composition and an overall structure that flows beautifully from start to finish; in all those ways, it is also the band's richest work. While there are a few tracks on the record that undoubtedly belong to the "hits" of the BtMI! discography, the truly deranged body of Goodbye Cool World! is a dense, underrated effort that demands persistence, and when you finally crack that bastard open, it shines brighter and more colourfully than any other BtMI! record, and that's saying something.
Boris Flood
Brand New The Devil and God Are Raging Inside Me
Brand New Deja Entendu
Burial Untrue
Burzum Filosofem
Charles Mingus The Black Saint and the Sinner Lady
"Mingus was doing compositions while other people were playing tunes."
--John Handy.

Charles Mingus' The Black Saint and the Sinner Lady is the perfect collision of jazz and composition; a single piece with the free spirit of its time and genre but made from the mind as much as the heart. Black Saint is certainly a planned and organised epic, but beyond that, it is a jazz piece: with the very same jazz that improvisers of bebop mustered notes from thin air into brilliant songs, Mingus forms a single, overwhelmingly expressive large-scale work with the cohesive, thought-out approach of the Stravinskys and Schoenbergs that he studied in his youth. Tying the two diverging styles together is the cumulative climaxing of Mingus' career--his compositional peak, his gypsy aesthetic, his massive band of virtuosos, and every hallmark of the unique musical soul that was Mingus himself--mixing, bursting, and booming into what is potentially the greatest jazz record of all time.
Charles Mingus Let My Children Hear Music
Electric Wizard Dopethrone
Fugazi Red Medicine
Ging Nang Boyz あいどんわなだい
A-side: The ultimate youth anthem. Eat your heart out, Weezer.
B-side: Though its chorus just misses the mark of transcendence, the song doesn't exactly need a perfect chorus to rank as undoubtedly one of the most beautiful songs Mineta's ever written.
Ging Nang Boyz 君と僕の第三次世界大戦的恋愛革命
There's enough material on the first two Ging Nang Boyz albums for about four or five LPs (which is especially impressive considering those two albums were made and released at the same time). It's a bit strange for such long songs albums to come from a musical outfit that stylistically resembles the kinds of bands that put out 25-minute albums, but none of those bands were nearly as immense, explosive, and transformative as the fucking Ging Nang Boyz. The double album combination of Our Third Worldwide Great War Romantic Love Revolution and DOOR is a work that, spanning 150 minutes, somehow leaves you wanting more. Quite possibly the most remarkable punk records in recent memory.
Ging Nang Boyz DOOR
Whereas Our Third Worldwide Great War Romantic Love Revolution balanced the Ging Nang Boyz's extreme sound with melodies and choruses of utter beauty, DOOR separates the band's two warring halves. From the onset, Ging Nang Boyz bombards and offends the listener with downright obnoxious, ugly hardcore punk songs before "Yume de Aetera" kicks in halfway through, heralding a stream of long-winded, noisy blasts of pretty and sappy compositions. The resulting record is a strange counterpoint to the perfect synthesis of unbridled aggression and sincere sentimentalism that was exemplified on Our Third Worldwide Great War Romantic Love Revolution, but despite the foundational stylistic divergence from DOOR's companion, as well as DOOR's own exhibition of conflicting styles, the album is somehow still a cohesive and consistent work. Such a success is owed not only to Mineta Kazunobu's top-notch songwriting, but also to the sense of uncompromising sincerity that is common to both sides of the sonic schism that is DOOR.
GZA Liquid Swords
Kanye West My Beautiful Dark Twisted Fantasy
Laura Stevenson Sit Resist
From the retrospective position of about two years post-Sit Resist, one can only marvel at how Stevenson pulled off a second classic in Wheel which could only further highlight the brilliance of her 2011 effort by contrasting it in so many ways. Something about Wheel's production and execution obscures what Sit Resist excels in most: its intimacy. And that's what Sit Resist is: the epitome of intimate musical experience that could ever be built from the instrumental idiosyncrasies of the mumbling bass on "Halloween Pts. 1 & 2", the accordion on "I See Dark", that weird little start-stopping thing on "Caretaker", and, especially, Laura's bursting screams on "The Healthy One". Stevenson's quirky little arrangements create personality, while her masterful composition creates a world rich with colour, and so Sit Resist builds upon these a story of love that encapsulates the complexity of Laura's emotions and Laura's world simultaneously, in all their splendour.
Laura Stevenson Wheel
There's something about Wheel, man. It breaks absolutely no surface ground at all, and in that its strengths become remarkably subtle. No, it doesn't grab your attention with an astounding voice, complex instrumentation or anything too unique, but when you really listen, Laura Stevenson reveals a grand structure that is unlike anything we have heard in indie folk for years. You can hear it in every climax, every croon, and every moment of this album: Wheel is born out of a passion so pure and burning and yet chooses not to scream in a completely unrestrained fashion, but to sing a carefully constructed epic and beat down on you with a prolonged 45-minute emotional burst. Laura herself may not possess some sort of mind-blowing voice, but I'll be damned if Wheel doesn't sing like an angel.
LCD Soundsystem Sound of Silver
Madvillain Madvillainy
Madvillainy plays like a mixtape due to the shortness of its tracks and its heavy focus on production, but in the same fashion as the albums of other DJ producers like J Dilla and Flying Lotus, it is a truly purposeful journey, nonetheless. Madvillainy flows through a multitude of rhymes and beats and sounds and samples that vary endlessly and naturally in mood and pace as both of the project's contributors reach the peaks of their respective careers on this record. DOOM showcases a colossal run of some of his best verses in reaction to the rich production of Madlib's broadly encapsulating pallet. A flavourous mixture of jazz stylisation, classic hip hop grooves, and the mentality and sampling flavour of a true DJ, Madlib's style is a diverse and elegant articulation of the familiar into a truly forward-thinking and individual style. Hence, Madvillainy is not only two of hip hop's absolute best musicians at their absolute best, but also an unbelievably multi-faceted work that entangles a million elements by way of the unique chemistry between DOOM and Madlib. Perfection, in other words.
maudlin of the Well Bath
Miles Davis Bitches Brew
Miles Davis In a Silent Way
Neutral Milk Hotel In the Aeroplane Over the Sea
In the Aeroplane Over the Sea is a record that is special to so many people, but ask any one of them to explain what the album is about and you'd be unlikely to receive a convincing answer. What little we have scraped together concerning the vast ideas present in Mangum's lyrics--Anne Frank, allusions to sex, and a single lyric of mourning--have been useless in attempting to understand the entirety of the record. And yet, this messy assembly of seemingly meaningless, stream-of-consciousness lyrics and borderline-throwaway musical arrangements can still inspire so many emotions in so many different people. And in that, Mangum's feat is one more grandiose than even he would care to admit: he creates an auditory capturing of the experience of life. Indeed, one is only along for the ride with In the Aeroplane Over the Sea, and not the great, unknowable answers.
Nick Drake Pink Moon
NOFX The Decline
Oasis Definitely Maybe
Owen I do perceive.
Red Hot Chili Peppers Stadium Arcadium
Stadium Arcadium is the complete aural representation of a career as titanic and turbulent and perfect as that of the Red Hot Chili Peppers. It takes a little from everyone--Kiedis' dynamic vocals, Frusciante's diverse guitar stylings, Flea's contrasting kinetic and somber bass playing and Smith's highly eclectic drumming--and then sprawls it everywhere. Every genre becomes the realm of the Chili Peppers, lifting every heart and funking every muscle. This great achievement of variety on Stadium Arcadium comes from the band's ability to transform seemingly random ideas--everything from the bass line on "Torture Me" to the ridiculous guitar riff on "Hump de Bump"--into songs that are both essential and meaningful to the album in that wherever these ideas have come from, the songs that are built from them are uniquely Chili Peppers. At one hundred and forty four minutes, Stadium Arcadium is effortless for both performer and listener, because it is in contrast that the album reaches its height: simultaneously a great exertion and yet unburdened and carefree, because it is with all the expertise gained from their long career that the Red Hot Chili Peppers are able to comfortably focus all of their energy to bring forth the richness in every far-fetched, simple motif that makes up the single, monumental labour of love that is Stadium Arcadium. The album is the ultimate representation of the mastery of an art, finally coming forth as a celestial opus built over twenty years of craft.
Rites of Spring Rites of Spring
Slayer Reign in Blood
Sleep Dopesmoker
Sodom Persecution Mania
The Arrogant Sons of Bitches Three Cheers For Disappointment
The Lawrence Arms Oh! Calcutta!
Oh! Calcutta! is an odyssey of incredible moments. You'll find sharp, heavy guitars breaking down your door, guns blazing as "Recovering the Opposable Thumb" enters its first verse; you'll be screaming "AEROPLANE AEROPLANE / don't leave without me" along to one of the greatest punk hooks of all time on "Are You There Margaret? It's Me, God"; you'll be floored by the most energetic piece of Chicago punk ever with "Key to the City"...three miniscule observations out of an immeasurably hard-hitting twelve tracks only encapsulate the tiniest aspects of this slice of dynamic, urgent Chicago punk which The Lawrence Arms have poured their hearts into to the point that this is both audibly and infectiously passionate. Oh! Calcutta! is peppered with tender sections of '50s nostalgia, solidified with a ground-shattering Les Paul tone, and brought to life with an array of battle-cry hooks, revealing a modern punk rock jewel in which the most miniscule of moments are more powerful than entire albums.
The Mars Volta Frances the Mute
The Microphones The Glow Pt. 2
Tigers on Trains Grandfather

4.5 superb
Airospace 戦場ヶ原 ひたぎ [vol. II]
Album Rating: 4.8

Airospace is another of the anime obsessed, enigmatic artists whose work is buried deep within the unfathomable archive that is Bandcamp, and he happens to have released the best hip hop tape of the year in the form of Senjougahara Hitagi [vol. II], named for the cover's Bakemonogatari seductress. From a generally unhinged approach to his art, Airo manifests a series of dark, masterful, labyrinthine verses attached to mysterious, eclectic, and positively nuts beats. But, far from being driven by aggression or shock value like Death Grips or Tyler, the Creator, the music is unquestionably the most overpowering aspect of Airospace's insane dream in that it's so very easy to get lost in. Senjougahara Hitagi [vol. II] is complex, drifting, lush, raw, impulsive, surreal, and unsettling; rich experimental hip hop that plays like the soundtrack to an art-house visual anime experiment from the minds of psychopathic versions of Earl Sweatshirt and Flying Lotus. Needless to say, it's fresher than a barrage of my shitty similes and adjectives can describe.

Akhlys The Dreaming I
Albert Ayler Spiritual Unity
Altar of Plagues Teethed Glory and Injury
Animal Collective Feels
Art Blakey Moanin'
Austin Peralta Endless Planets
bansheebeat Lumine
Whereas Spiral Power often served to remind you of playing video games and dreaming dreams, Lumine makes you feel like you're in the video game, living out your dreams. bansheebeat creates a lush dream-world on his sophomore album from an overwhelming range of sounds, stunningly beautiful melodies, and gentle nods to different camps of electronic music like video game soundtracks, J-pop and vaporwave throughout these futuristic soundscapes: it's a subtle combination of childhood nostalgia, contemporary trends and spacey stylisation that defines Lumine's unique overall sound as bansheebeat once described his own music: "whether your mind floats to the past, hangs in the present, or cruises to the future; this is music of the moment." For all its aesthetic appeal, however, it's actually bansheebeat's sense of compositional construction that makes Lumine such a massive leap forward for the Arizona producer, as every song is completely fleshed-out thanks to bansheebeat's rigorous utilisation of the musical elements at his disposal. As the first full-length out from his own label/collective Galaxy Swim Team, Lumine sets the bar high for bansheebeat's peers and their aesthetic fellows; an unprecedented achievement in the realms of video game and Japanese pop culture influenced electronic music.

Oh, and shouts out to Ivy Hollivana, whose vocal feature on "Sea of Lights" had me in tears.
Beck Sea Change
Big Eyes Back From The Moon
One of the best singles ever. The b-side may even be better than the title track.
Bomb the Music Industry! Vacation
Album Rating: 4.9

Bomb the Music Industry! ended the journey in the most wonderful of ways that was Vacation. Not only was it more than we could ask for in a record, but it closed at a place that contradicted Album Minus Band in so many ways in that it was focused, hi-fi and decisively conventional, and yet still so passionate, heartbreakingly touching, and perfectly accurate in its encapsulation of the same guy who wrote "Sweet Home Cananada" on his laptop all those years ago, only a little more grown up. Bomb the Music Industry! thus ended in a way that showed growth and change but never betrayed the ideals they had at the beginning, enhancing the majesty of their career and allowing them to fulfill something beautiful in death with a legacy of music, personality, and an unrivalled ethos left behind like an archaic punk rock doctrine. I always look at that perfect album cover as the closing sunset on a beach like the moment that I realized that my favourite band was dead and Vacation was Jeff Rosenstock--silhouetted, not as he once was--looking out on the world that awaited him with the band that he built, sustained, and dissolved finally gone and still with so many years left to his life.
Bomb the Music Industry! Scrambles
Bomb the Music Industry! To Leave or Die in Long Island
Bomb the Music Industry! Album Minus Band
Bomb the Music Industry! Adults!!!: Smart!!! Shithammered!!! And Excited By Nothing!!!!!!!
Botch An Anthology of Dead Ends
Brand New Science Fiction
Bright Eyes I'm Wide Awake, It's Morning
Captain Beefheart and His Magic Band Trout Mask Replica
Charlie Parker Charlie Parker With Strings: The Master Takes
Corrupted El Mundo Frio
Danny Brown XXX
Danny Brown Atrocity Exhibition
Deafheaven Sunbather
generations from now people will recognise this album as the root of all that pussy ass blackgaze that degraded society until our entire way of life was extinguished. pretty album tho
Death (MI) ...For the Whole World to See
Death Grips The Money Store
Death Grips The Powers That B
Des Ark Everything Dies
And I thought Akhlys had the heaviest record from this year.
Dinosaur Jr. You're Living All Over Me
Direct Hit! Brainless God
Disasterpeace FEZ
Disasterpeace It Follows
Do Make Say Think Goodbye Enemy Airship the Landlord is Dead
Eric Dolphy Out to Lunch!
Fall Out Boy Infinity on High
Fishbone The Reality of My Surroundings
One of the most under-appreciated albums of all time.
Flying Lotus Until the Quiet Comes
Flying Lotus Cosmogramma
Flying Lotus Los Angeles
Flying Lotus You're Dead!
Freddie Gibbs and Madlib Pinata
Fuck Buttons Tarot Sport
Fucked Up David Comes to Life
Listening to David Comes to Life is like going to a four-act play (not even a musical, just a play): you either fall asleep half way through or you're loving every second of it.
Ging Nang Boyz 生きたい
For nine years after the Ging Nang Boyz's first two albums ravaged the world of Japanese punk, all we heard from the band was five singles. They were the furthest thing from satisfying; a handful of good, even downright amazing songs every year or so is nothing compared to a full-length, fleshed-out work released in due time. So, we're now a couple of years removed from the Ging Nang Boyz's second set of albums, and with the dissolution of the band's entire lineup besides frontman Mineta Kazunobu, as well as his persistent acting career, it could be assumed that there's going to be even less activity from the Ging Nang Boyz than before. And here we are, with yet another single, the first in what very well could be another nine years of singles before the next Ging Nang Boyz album.

"Ikitai" is our first glimpse of the band in its new form, now effectively Mineta's solo project. The A-side is 15 minutes long, split into a quiet section consisting solely of a powerful vocal performance accompanied by piano and acoustic guitar, and an explosive latter-half with full band instrumentation. For all of the modest beauty and power that the session musicians contribute, Mineta's performance on "Ikitai" is what makes it one of the most intense and dynamic musical experiences of the year. His voice drags potent emotions out from the shadows--kicking and screaming--and his nakedly sincere lyricism bleeds with admissions, anxiety, aspirations, and ultimately, hopefulness. Mineta hoots, croons, screams and soulfully soars over a highly controlled and well orchestrated backing band, transforming "Ikitai" into a work that turns away from the raw chaos of the Ging Nang Boyz's trademark sound in favour of a solid instrumental foundation upon which Mineta reaches for the highest level of musical catharsis. The result is somehow both acutely penetrating, like a knife, and fucking heavy, like being hit by a semi.

Even beyond its own merits, one can't help but infer what "Ikitai" implies for the future of the Ging Nang Boyz. At least what I have to say on the matter is as follows: maybe we won't see a new Ging Nang Boyz album for another long while, but if Mineta is putting out material this good every year, even in the meagre quantities that veteran Ging Nang Boyz will undoubtedly be familiar with, it'll be hard to complain that Ging Nang Boyz is anything but the hard-hitting punk rock monster it's always been. Well, maybe the band is no longer "monstrous", considering the polished sound of their last studio album and this latest single, but perhaps what the aforementioned releases have shown in Mineta is a man who no longer needs to express himself in all-out assaults in order to reach the level of sincerity that's always been the hallmark of his art.
Ging Nang Boyz 愛地獄
Godspeed You! Black Emperor Lift Your Skinny Fists Like Antennas to Heaven
Gris À L'Âme Enflammée, L'Âme Constellée...
Hiatus Kaiyote Choose Your Weapon
Hot Water Music Caution
Isis Oceanic
Jaco Pastorius Jaco Pastorius
James Blake James Blake
Jenny Hval Innocence Is Kinky
Jesu Silver
Jizue Bookshelf
John Coltrane Ascension
Jon Hopkins Immunity
Julia Brown An Abundance of Strawberries
Julia Holter Loud City Song
Kamasi Washington The Epic
Kayo Dot Hubardo
Kendrick Lamar To Pimp a Butterfly
LCD Soundsystem This Is Happening
Leviathan Scar Sighted
Loma Prieta I.V.
Los Campesinos! Hold On Now, Youngster...
Album Rating: 4.3

Los Campesinos! covering Black Flag's "Police Story" says a lot about them. Right when that ridiculous cry of "we hate them!" hits, you find yourself simultaneously encountering Los Campesinos! the pop band--anthemic, uproarious, and youthful--and the underlying punk energy that truly defines Hold on Now, Youngster...: the album achieves in its monumental formulation of an engaging and totally organic pop sound, by way of punk undertones and the ridiculous, overjoying sadness and discontent sprinkled across its lyrics not unlike college life seen through a rainbow.
Matana Roberts COIN COIN Chapter One: Gens de couleur libres
Matana Roberts COIN COIN Chapter Two: Mississippi Moonchile
McCoy Tyner Sahara
Midori Second
Miles Davis Jack Johnson
Mitski bury me at makeout creek
Mogwai Special Moves
Mount Eerie Sauna
Mount Eerie Wind's Poem
Naked City Naked City
Neutral Milk Hotel Ferris Wheel on Fire
Album Rating: 4.3

Ferris Wheel on Fire can be considered a prelude, companion piece or appendix to In the Aeroplane Over the Sea; an extension of what Aeroplane is and was; it's ...Was a Real Boy, if you will. It resembles a sequel to the '98 classic both musically and lyrically, featuring a strikingly similar general sound despite the fact that the songs on it reach back as far as 1992 to 1995, and even recollects Aeroplane on multiple occasions: the numerous Aeroplane one-liners on "Oh Sister", which plays instrumentally like "Two-Headed Boy" set on fire; to the swaying, "Oh Comely"-reminiscent rhythm of "Engine"; and closing with the utterly forlorn finality of "My Dream Girl Don't Exist", echoing the lyrics of "Ghost" as Mangum plays his final resonant strums. Coming forward so long after that acclaimed album like the scraps of an album that never came to be, what Ferris Wheel on Fire actually serves to do is affirm Jeff Mangum's greatest musical strength. Dating back even further than that primordial 7" Everything Is, the tracks on Ferris Wheel surprisingly sound hardly amateurish, though Everything Is is clearly so. Ferris Wheel can be contrasted similarly with On Avery Island; the former sounds much more confident than the latter. These comparisons draw a line in the sand between two aspects of Jeff Mangum's musical identity: that which relies on processed sound--the lo-fi, psych folk approach that we find on Neutral Milk Hotel records like Everything Is or On Avery Island--and another that fans will be well acquainted with, either from the Live at Jittery Joe's album or in person at his initial comeback tour. On Ferris Wheel on Fire, we find Jeff Mangum with only his voice and his acoustic guitar, and yet, it is a stronger record than any Neutral Milk Hotel release prior to In the Aeroplane Over the Sea. This can hardly be considered a surprise, especially if you have seen him live or heard his solo live record, but the true puzzlement is found when considering that these brilliant, stripped-down tracks were recorded before On Avery Island, and some even before Everything Is. It shows that while Jeff was still attempting to harness the lo-fi electric weirdness that he would not master until Aeroplane was recorded, he was already writing to such a brilliantly heartbreaking calibre with little instrumental augmentation. To summarise it in a sentence, Ferris Wheel on Fire is a lost blueprint; proof that the genius that eventually made In the Aeroplane Over the Sea was there for a very long time, and even without a full band or electronics or anything, Jeff Mangum remains a goddamn genius.
Niechec Smierc w miekkim futerku
Nujabes Metaphorical Music
Oasis (What's the Story) Morning Glory?
Oathbreaker Eros|Anteros
Obliteration Black Death Horizon
Ornette Coleman Free Jazz: A Collective Improvisation
Owen At Home With Owen
Owen L'Ami du Peuple
I get it, it does sound like "just another Owen album". It really isn't. It's easy to dismiss it as such, but you're missing out on the best thing Mike Kinsella's done since At Home with Owen.
Owen The King of Whys
Slow and brooding, like early Owen albums; and very light, in contrast to its bold-sounding predecessor, L'Ami du Peuple.
Panopticon Panopticon
Pharoah Sanders Karma
Preoccupations Viet Cong
Ricky Eat Acid Three Love Songs
Rocky Votolato Suicide Medicine
Rosetta Wake/Lift
Seventeen Again 少数の脅威
Sharon Van Etten Are We There
Shiina Ringo Muzai Moratorium
Shiina Ringo Shouso Strip
State Faults Resonate/Desperate
Streetlight Manifesto The Hands That Thieve
Sufjan Stevens Carrie and Lowell
Swans To Be Kind
Swans The Seer
Swarms Old Raves End
Sweet Teens terminal grouse
Teeheehee Rainbow Stab Brain Bubbles
Teen Suicide i will be my own hell because there is a devil inside my body
teen suicide? psh, dumbest band name i ever heard bet this is like a -1.5 at best lol lets try this shit holy mother of god
The Dear Hunter The Color Spectrum (Complete Collection)
The Drones I See Seaweed
The Hotelier Home, Like NoPlace Is There
The Kilimanjaro Darkjazz Ensemble Here Be Dragons
The Lawrence Arms The Greatest Story Ever Told
The Pillows Fool on the Planet
Would be perfect if there was some more Happy Bivouac stuff on here.
The Pillows Happy Bivouac
The Pillows Little Busters
The Pillows Please Mr. Lostman
The Quintet Jazz At Massey Hall
The Roots undun
The Seatbelts Blue
Dammit, every time I listen to this album I think "I need to watch the show again" and then I watch the show and I think "I need to listen to this album again" and then I listen to this album I think "I need to watch the show again" and then I watch the show and I think "I need to listen to this album again" and then I listen to this album I think "I need to watch the show again" and then I watch the show and I think "I need to listen to this album again" and then I listen to this album I think "I need to watch the show again" and then I watch the show and I think "I need to listen to this album again" and then...
The Tallest Man on Earth The Wild Hunt
Album Rating: 4.8

Watching a video of Kristian Matsson playing a guitar from the 1800s in the back of a New York music store (http://www.youtube.com/watch?v=EkwxxJE3zcY) brings about a single realization--make no mistake--The Wild Hunt is genius. In fact, it is almost unbelievable that such a thing exists; that a married Swedish 27-year-old with a Bob Dylan-esque voice (but better and way more emotional) and a single guitar could manifest what acoustic guitar folk was perhaps made to do and singer-songwriters have been trying to achieve since Guthrie. Matsson is raw, from every seemingly light arpeggio pluck on "Troubles Will Be Gone" to the striking, abrasive cut of his strums on "You're Going Back". He is emotional, even when restrained on "The Drying of the Lawns" or writhing in anguish on "Kids on the Run". And above all, he's completely stripped down. Matsson on The Wild Hunt represents the simplicity of acoustic music and just how rich of a sound can be brought forward from so very little.
The Tallest Man on Earth Shallow Grave
The Weakerthans Live At Burton Cummings Theatre
The Weeknd House of Balloons
The Weeknd Echoes of Silence
The Wonder Years The Greatest Generation
Album Rating: 4.8

The Wonder Years is one of those bands that have carved out their own, unique sound within an extremely derivative genre, and continue to redefine that sound with every release, though the changes are relatively minor. They probably can't keep up this consistency forever, but until it gets old, enjoy the next installment in the discography of what is undoubtedly the best mainstream-styled pop punk band ever.
Thee Silver Mt. Zion Memorial Orchestra He Has Left Us Alone But Shafts of Light Sometimes Grace the Corner of Our
Thee Silver Mt. Zion Memorial Orchestra Fuck Off Get Free We Pour Light on Everything
Thriftworks Fade
Thy Catafalque Tuno Ido Tarlat
Tim Hecker Haunt Me, Haunt Me Do It Again
Titus Andronicus The Most Lamentable Tragedy
Trophy Scars Holy Vacants
Trophy Scars Never Born, Never Dead
Troubled Medium WHAT ARE YOU DOING
two albums out in one year and neither of them has a dick on the cover

i'm disappointed, spare
Ulcerate Shrines of Paralysis
United Nations United Nations
I like my skramz the way I like your mom: fast and brutal...

...and with a few saxophones.
Vektor Terminal Redux
Wayne Shorter Speak No Evil
We Lost the Sea The Quietest Place on Earth
William Parker The Peach Orchard
Women Public Strain

4.0 excellent
A City Sorrow Built Ai
A Tribe Called Quest We got it from Here… Thank You 4 Your service
Aaron West and The Roaring Twenties We Don't Have Each Other
Against Me! Transgender Dysphoria Blues
Airospace 戦場ヶ原 ひたぎ [vol. I]
Alaska (USA) Shrine
Allison Weiss Say What You Mean
Allison Weiss Remember When
An Autumn For Crippled Children Try Not To Destroy Everything You Love
Anamanaguchi Endless Fantasy
Andrew Hill Point of Departure
Autechre Exai
Autechre Amber
bansheebeat Spiral Power
Batushka Litourgiya
Bill Seaman f (noir)
Bjork Post
Bjork Vulnicura
Bob Dylan The Times They Are A-Changin'
Bob Dylan Another Side of Bob Dylan
Bomb the Music Industry!/Laura Stevenson Split
Bomb the Music Industry!/O Pioneers!!! Split
Boris Noise
Brand New Daisy
Brand New Your Favorite Weapon
Brave Bird Maybe You, No One Else Worth It
Album Rating: 3.9

With the debut album Maybe You, Grand Rapids' self-proclaimed "frat-boys of emo", Brave Bird, manage to blow a hurricane of fresh air our way: it's got the vocals of a young Jesse Lacey, strained into painful screams on occasion; some of the most technically proficient twinkle riffs in recent memory (all of which seem to have been finger-picked on an SG...you heard me); and a range of exciting punk tracks without so much as a power chord ("Too Late Now", "The Worst Things..."), as well as slow burners which see Brave Bird expand their style into some of the most exciting five or six minute tracks emo has to offer ("Thick Skin", "Maybe You..."). It's a phenomenal effort in which the band demonstrates a fully formed sound--encapsulated in some of the year's most enjoyable tracks and catchiest pop choruses, no less--Brave Bird shows a degree of confidence and development in their debut that rivals that of Snowing's Fuck Your Emotional Bullshit.
Brave Bird T-Minus Grand Gesture
Built to Spill Untethered Moon
Caleb McAlpine All Things New
Captain, We're Sinking The Future Is Cancelled
Carly Rae Jepsen Emotion
Cecil Taylor Conquistador!
Ceres I Don't Want To Be Anywhere But Here
Charles Mingus The Clown
Cheap Girls Famous Graves
Me or somebody else should review this because it's so good.
Chelsea Wolfe Apokalypsis
Chris Farren Like a Gift from God or Whatever
Chronic Future Modern Art
CityCop Loner
Who keeps bumping that Boner guy, seriously?
Clarence Clarity No Now
Cloud Nothings Here and Nowhere Else
Oh, so Cloud Nothings put out a legitimately establishing record? FINALLY!
Coldworld Autumn
Courtney Barnett sometimes i sit and think, and sometimes i just sit
Crying Get Olde Second Wind
Crying Beyond The Fleeting Gales
Cult Leader Lightless Walk
Dark Time Sunshine Vessel
Deafheaven New Bermuda
Death Grips No Love Deep Web
Death Grips The Powers That B - Part I: Niggas on the Moon
Death Grips Exmilitary
Death Grips The Powers That B - Part II: Jenny Death
Death Grips Bottomless Pit
DJ Shadow Preemptive Strike
Donovan Wolfington How To Treat The Ones You Love
Dot Hacker How's Your Process? (Work)
Earl Sweatshirt Doris
Album Rating: 3.8

I don't want to talk about Doris nearly as much as I want to listen to it. I mean, it's good. Hell, it's great. But if you were an Odd Future fan like I was--bumping EARL daily and sacrificing bitches in order to invoke his return--this isn't the record you were waiting for. However, that doesn't change the fact that Earl is in better form than ever, the beats are brilliant, and several of the niggas on here are most definitely on point. But, as great as all this sounds, Doris feels a little loosely slapped together. There's some mediocre, underwhelming and even downright awful shit on here (SK La' Flare...I don't even...), but mostly, Doris is way too inconsistent and hit-or-miss to feel like a real, flowing album. Hell, EARL (apparently a mixtape and not an album) is more of an album than this one, but between Staples flowing like a motherfucker on "Hive", or RZA and his beat on "Molasses" getting me AMPED AS FUCK, how could this be a bad album? Simply put, Doris is a taste of Earl that only adds to the promise of his budding career, and that's all it needs to be, even if it did take a long time. It's safe to say that this is Earl's debut, because the Earl you knew is definitely in the ground.
Earl Sweatshirt I Don't Like Shit, I Don't Go Outside
Elvis Depressedly Holo Pleasures
Elvis Depressedly New Alhambra
Empire! Empire! (I Was a Lonely Estate) On Time Spent Waiting
Face to Face Don't Turn Away
Fall Out Boy Folie a Deux
Fall Out Boy Take This to Your Grave
Fall Out Boy From Under the Cork Tree
Fire! Orchestra Enter!
Fire! Orchestra Exit!
Fireworks Oh, Common Life
Fireworks Gospel
Foxing Dealer
Frank Ocean Blonde
Frank Ocean channel ORANGE
Frank Turner England Keep My Bones
Frank Zappa The Yellow Shark
Fucked Up Year of the Tiger
Incredible concept. Incredible lyrics. Pretty good track.
Fucked Up Year of the Dragon
Full of Hell The Inevitable Fear of Existence
Full of Hell and Merzbow Full of Hell and Merzbow
Genghis Tron Dead Mountain Mouth
Ghosts and Vodka Addicts and Drunks
Ging Nang Boyz 光のなかに立っていてね
In spite of the fact that these guys had already recorded three different versions of "Night on the Galactic Railroad" before the one on this album, it's probably the best song on here.
Ging Nang Boyz BEACH
For the unfamiliar, casual listener, BEACH is an unfathomable, pointless disaster. For those well acquainted with the band's songs and live performance style, however, the album is an intense experience of raw musicality and artistic passion; a perfect, multi-faceted encapsulation of one of the defining punk bands of the current generation. Although such an appreciation for BEACH's merit may belong uniquely to Ging Nang Boyz's fans, so does the recognition of the album's flaws: despite nine years since the band's double album debut, and four since the band's last release, there are far too few new songs on BEACH's studio album counterpart, and absolutely none on BEACH itself. In fact, many of the songs on BEACH date back to well before Ging Nang Boyz even existed. Having said that, other bands can only envy the brilliance that the Ging Nang Boyz achieve off of a catalog that expands so slowly.
Ging Nang Boyz ボーイズ・オン・ザ・ラン
"Berochu", despite being an amazing song, is kinda unflatteringly produced. "Boys on the Run" and the Takako Okamura cover, however, are revelations. Also the Boys on the Run movie is wild; y'all should check that out.
Ging Nang Boyz ラストラーダ
Gob Muertos Vivos
God Is an Astronaut Far from Refuge
Godflesh Hymns
Godspeed You! Black Emperor 'Asunder, Sweet and Other Distress'
Going Steady 星に願いを / BABY BABY
Going Steady 東京少年 / Because I Love It
Going Steady 若者たち / 夜王子と月の姫
Going Steady さくらの唄
Gorillaz Demon Days
Gorillaz Gorillaz
Grimes Visions
Grimes Art Angels
Hard Girls A Thousand Surfaces
Have a Nice Life The Unnatural World
High on Fire Luminiferous
Hop Along Painted Shut
I Kill Giants I Kill Giants
Twenty-eight minutes of mathy-emo-post-hardcore-whatever that should be enough proof that Bandcamp does house some freaking masterpieces. This thing is energetic, cohesive, and really keeps you on your toes.
Ian Christ Hara Kiri Arcade
Initials Leave Expired
Currently the essential 2014 release in Australian music until I hear the new Jezabels record.

Into It. Over It. 52 Weeks
And that poor boy / won't know what hit him.
Into It. Over It. Intersections
Album Rating: 4.1

With Intersections, Evan's finally over it (lel). He's broken out of the box of the so-called "emo revival" scene that--though recognising him as a unique, innovative, and dedicated musical character--lumped him together with a hell of a lot of admittedly disposable bands. What's on Intersections is an encapsulation of the style that is the soul of Evan's music as it was on all his past works placed into a very strange, very free collection of songs. But there's one defining truth that eventually becomes evident about every single track on Intersections: Evan has never been more heartfelt. "I caught a chill / when the newsprint said the gunman was 19" was what first caught my ear, and likewise, it sent a chill down my spine immediately. There's so much here, from heartwrenching lyrics to weird instruments; from woah-ohs to feedback; everything from the "do you know my name?" on "New North Side Air" to the hazy collage of vocal lines on "Contractual Obligation" is perhaps bigger, louder, and more beautiful than anything we've ever heard from Evan, but, more than anything, it's Mr. Weiss creating an eclectic instrumental backdrop for his most sincere, evocative performance yet. And, with time, I realised it worked extraordinarily well: Intersections is one of the richest, most ambitious releases to emerge from emo in a while, rolling out a tapestry for the rest of Evan's career as if to herald the musical unpredictability that we're probably in for with the future of Into It. Over It.
Into It. Over It. Proper
Into It. Over It. and Koji IIOI/Koji
It's a consistent release, but it's hard to ignore that some of the best tracks of both Evan and Andrew's discographies are on here alongside some of their slightly more forgettable ones.
iNTRiKeT The Woods
iNTRiKeT Lost
Iron Chic Not Like This
Jaco Pastorius Invitation
James Blake Overgrown
Jamie xx In Colour
Jeff Rosenstock Summer Seven Club
Jeff Rosenstock We Cool?
Jeff Rosenstock I Look Like Shit
Jeff Rosenstock Worry.
Who woulda thought that despite bring busier than ever with other people's musical projects that Jeff's own album output would actually increase?
Jim Lockey and the Solemn Sun Death
Like Frank Turner meets The Menzingers.
Jizue Shiori
John Coltrane My Favorite Things
John Galm Sky of No Stars
The end of "Seeing Ghosts". That is all.
Julia Brown to be close to you
Yet another project of Sam Ray's, and, as usual, the output is brilliant.
Julia Holter Have You In My Wilderness
Kashiwa Daisuke 9 Songs
katie dey asdfasdf
Kayo Dot Plastic House on Base of Sky
KMD Bl-ck B-st-rds
Koji Spring Song Vol. 1
Album Rating: 4.0

Recorded at a house show clearly occupied by close friends, Spring Song Vol. 1 is intensely personal yet rarely exclusive. The sheer execution of some of Koji's greatest tracks on this record is enough to affirm its strength, but the way that Koji's spontaneity, sincerity and natural showmanship is able to engage not only his live audience but listeners at home as well is nothing short of a commendably realistic live experience.
Krallice Ygg Huur
La Dispute Rooms of the House
Lil B God's Father
Loma Prieta Self Portrait
Loose Lips Sink Ships The Contemporary Issues of Celibacy
Los Campesinos! No Blues
This album will make you feel young, no matter how old you are.
Lost Salt Blood Purges The Voids We All Long For
Lost Salt Blood Purges Only the Youngest Grave
Love American Hollow Crosses
Love Like... Electrocution Love Like... Electrocution
Matana Roberts COIN COIN Chapter Three: river run thee
Matthew Shipp Greatest Hits
Meishi Smile ...Belong
Melt-Banana Fetch
Miles Davis Sketches of Spain
Milhouse Thrillhouse
Mitski Puberty 2
Mutoid Man Helium Head
Mutoid Man Bleeder
my ex Yesterday Once More
Nai Harvest Hairball
Not a very interesting sound but the songwriting is top notch.
Nails Abandon All Life
Nails You Will Never Be One of Us
Neutral Milk Hotel On Avery Island
On Avery Island is not nearly as sophisticated as its acclaimed successor, but remains incredibly enjoyable (yet appallingly underrated) in its laid back, layered, and fuzzed-out sound.
Night Birds Mutiny At Muscle Beach
all of hep's hype aside these guys really are one of the best punk bands around right now
NOT WONK This Ordinary
Nujabes Spiritual State
O' God the White Whale Never Knows Best
Oasis Be Here Now
I'm not usually one to agree with Liam Gallagher on anything, but his contentious claim in regards to Be Here Now that "I still think it's great...it just wasn't Morning Glory" concisely reflects much of my opinion on Oasis' 1997 coke-fueled cannonball of an album.

No, Be Here Now isn't Morning Glory, but to quote the uninhibited frontman once more, "fuck Morning Glory, man." Perhaps the band's most celebrated album, Morning Glory is unquestionably an affecting collection of top-notch songs almost across the board, but lacks the edge and attitude of Definitely Maybe and consequently sounds relatively inoffensive. Be Here Now, however, brings a certain madness back to Oasis; madness fueled by pure confidence and a penchant for extremity. The album is injected with energy and a compelling degree of self-assurance; loaded with enthralling choruses and huge-sounding, weighty instrumentation; and then stretched to a jusitifiably monstrous length to create one monster of an album.

Perhaps the heavier and longer songs aren't for everyone, but personally, I think Be Here Now stops just short of a masterpiece. It's hard to believe that the same people who adored songs like "Some Might Say" and "Champagne Supernova" would be able to criticise Be Here Now for being overlong, because there's an enrapturing quality to many Oasis songs such as those already mentioned that almost pushes them to keep going, on and on. On Be Here Now, Noel allows the songs to do just that, without inhibition, and it sounds perfectly natural for the band. The album's pounding riffs, too--in addition to being the perfect backdrop for Liam's anthemic vocal lines--are a fitting manifestation of the emotional momentum behind Noel's songwriting, the band's performances, and Oasis as one of the most celebrated bands in recent history.

Hence, heaviness and length are an ideal fit for the personality of Oasis, and allow for the band to express themselves through these musical aspects with utter sincerity. But what really imbues Be Here Now with the velocity of a rocket ship is the quality of Noel's songwriting, exemplified by his engaging melodies and choruses which serve to convince listeners that Oasis, for all the hype and their own blatant arrogance, really were propelled by something truly beautiful.

All that said, Be Here Now isn't a masterpiece; its lumbering tempos, unwavering noisiness and length can certainly wear down listeners who aren't in the right, exuberant headspace. But given even a minute amount of belief in the power of rock music and pop songwriting, Be Here Now provides an impacting and beautiful close to the incredible trilogy of albums produced by the historical, cultural, and personal perfect storm that was Oasis.
Old Gray Demo
Oneohtrix Point Never Replica
Oneohtrix Point Never Garden of Delete
Owen No Good for No One Now
Owen (the ep)
Owen New Leaves
Owen Ghost Town
Owen Owen
Owls Owls
Owls Two
Panopticon Autumn Eternal
Papermoons No Love
Pedro the Lion Progress
Perfect Pussy I have lost all desire for feeling
Pet Symmetry Two Songs About Cars. Two Songs With Long Titles.
Evan Weiss and Dowsing make some uplifting-ass power pop, complete with "WOAH-OH-OHS" and trumpets, for the most fun two songs of the year.
Petal Shame
Peter Brotzmann Machine Gun
Pianos Become the Teeth Keep You
Pianos Become the Teeth Close
Pinch Hitter When Friends Die in Accidents
Banjo-emo brings unique timbres to a stale genre, enhanced by the fact that these guys are brilliant songwriters.
Prawn Kingfisher
Through scores of mediocre, imitative bullshit--not unlike the consistency of the last twenty years of pop punk--a truly great record from the emo revival scene always shines through eventually. And when it does, it's grandiose. I'm glad that Prawn were the next band to accomplish this feat.
Prawn Settled
Prurient Frozen Niagara Falls
Quasimoto Yessir Whatever
Rancid Indestructible
Rocky Votolato Hospital Handshakes
Ruby Nightingale Sleeping in Pashminas
Run the Jewels Run the Jewels
Run the Jewels Run the Jewels 2
Run the Jewels Run the Jewels 3
Self Defense Family Try Me
Self Defense Family Heaven Is Earth
Sensory Deprivation Unsound
Shabazz Palaces Lese Majesty
Shad Flying Colours
Shinobu 10 Thermidor
Signals Midwest Light On The Lake
Sigur Ros Kveikur
Silverstein This Is How the Wind Shifts
Single Soul cold drone blues expanded
Single Soul/Boring Bathtimes photo shoot suicide
Sleater-Kinney No Cities to Love
Slime Girls Vacation Wasteland
Sparta Wiretap Scars
Sport Bon Voyage
St. Vincent St. Vincent
Sun Ra Jazz in Silhouette
Swans The Glowing Man
Swordplay and Pierre the Motionless Tap Water
Tancred Tancred
Teeheehee Rainbow Stab Swallowing Stones for Fun and Profit
The Avalanches Wildflower
The Bennies Rainbows in Space
if you have ever liked ska or psych or partying or weed or bikes or having fun in general at any point in your life then i guarantee that there's something for you to like about this band

The Cro-Magnons 13 PEBBLES 〜Single Collection〜
The Decemberists We All Raise Our Voices to the Air
The Dillinger Escape Plan One of Us Is the Killer
The Flaming Lips The Terror
The Flaming Lips 7 Skies H3
The Flying So High-Os Life as a Common Noun
The Gaslamp Killer Breakthrough
The Hotelier Goodness
The Hundred Acre Woods The Hundred Acre Woods EP
The Lawrence Arms Metropole
The Menzingers After the Party
The Mountain Goats Beat the Champ
what's with this bup ba da da bup bup ba bup on "foreign object"; thought i was listening to pop punk for a second
The Pillows Smile
The Pillows White Incarnation
The Pillows Runners High
The Smith Street Band More Scared of You Than You Are of Me
The Tallest Man on Earth Dark Bird Is Home
Gone is the sound upon which Kristian Mattson built his entire career. Flesh has gathered around the bare bones of a voice and an acoustic guitar, and the sprawling, free-flowing chord progressions have been tamed into repetition. The Tallest Man on Earth is transformed on Dark Bird is Home, a record that, perhaps, doesn't reach the same level of intimacy, intensity, or individualism as Mattson's previous work. But the goal here is clearly growth rather than recreation, and that is precisely what has occurred. Herein, we find an enlargement, expansion, and enrichment of that signature sound we have held so dear. The emergent opus grandly surpasses the limitations of Mattson's former instrumental modesty with thick atmospheres and a multitude of different instruments and sounds (plus drums!), while simultaneously anchoring his energetic, agile songwriting style by way of concise, repeated motifs. The result is, at times, a completely different Tallest Man as exemplified on "Timothy" and "Seventeen", but even tracks like "Singers" and "Beginners" that echo The Wild Hunt and There's No Leaving Now make use of sonic liberties like strings or backing vocals that would have been avoided on the aforementioned albums. Things have certainly changed, and on Dark Bird is Home, we are asked to accept that they won't ever be the same; there's trembles of hesitance and nervousness in Mattson's voice as he sings of what-ifs on "Fields of Our Home" and doubt on "Sagres". On the closer, however, a quiet assurance shines through that vulnerability, and with that, Mattson sings to evoke the horizon that we have all walked so far toward, still with a long ways to go: "This is not the end. This is fine."
The Tallest Man on Earth There's No Leaving Now
The Tallest Man on Earth Sometimes The Blues Is Just A Passing Bird
The War on Drugs Lost in the Dream
The Weeknd Thursday
The Wonder Years No Closer to Heaven
The World Is a Beautiful Place... Whenever, If Ever
The World Is a Beautiful Place... Harmlessness
Their / They're / There Analog Weekend
Album Rating: 4.2

For many, Their / They're / There's debut was one of the best EPs of 2013. So hold up with your end-of-year lists as the supergroup (fuck you, Evan, you guys are a supergroup) proceeds to put out the best EP of the year in Analog Weekend. A short collection of three precise math rock cuts, the trio yet again creates a varied, intent mix of noodly guitars, urgent drumming and powerful, distinctive vocals, this time with a much more cohesive and focused bonding of the three members' styles. The Analog Weekend EP is all too short of an output for a group with such a fresh sound, but nonetheless, it's a release that's probably worth more spins than any other EP that the year has offered thus far.

However, Vice Magazine does not agree: http://i.imgur.com/rj6NPSr.jpg
Thundercat Apocalypse
Thy Catafalque Sgùrr
Thy Light No Morrow Shall Dawn
Tigers on Trains Foundry
Tigers on Trains Antarctica In Color
Times of Grace The Hymn of a Broken Man
Makes you wonder what the fuck was going on with KsE II.
Titus Andronicus Local Business
Album Rating: 4.1

In the wake of the raw sprawl of overdriven guitars and gruff yells in The Monitor, Titus put together a jangle-heavy existential masterpiece that hits accurately between their previous two records, taking the indie songwriting of Airing and the anthemic rock sound of Monitor with strangely clear lo-fi-production and '80s alt-rock influence to create a truly fresh, polished record. It's impressive, yes, but the best thing about Local Business is that it balances its songs through variety and necessity, flowing beautifully and effortlessly as the aural journey that Titus Andronicus wanted it to be.
Totem Skin Weltschmerz
Touche Amore Is Survived By
Album Rating: 4.2

I'd just like to start by saying that Touche Amore came in and blew a fucking hole in the wall with Is Survived By. Previously criticised for the fairly underwhelming Parting the Sea..., I think a lot of people missed what the band were really doing on that album: they were learning to write real albums, however subpar some of the actual songs may have been on their own. Is Survived By is the simultaneous application and beefing up of their short-song formula and the aforementioned compositional strengths developed on Parting the Sea..., in addition to all of the new territory they tread into across the course of the record, from female vocals on "Blue Angels" to masterful post-rock influence on "Non Fiction". The album sees Touche Amore take a completely unexpected leap forward and finally consolidate their previously questionable position at the genre's front by crafting the masterpiece that we were all waiting for.

Also: http://www.youtube.com/watch?v=SwxYIKh5P0M
Trophy Eyes Everything Goes Away
Troubled Medium CAN U FEEL IT???
Evidently, Hanson feels it somethin' fierce.
Turnover Peripheral Vision
Ulver Messe I.X-VI.X
United Nations The Next Four Years
Venomspitter Venomspitter
Volcano Choir Repave
Album Rating: 4.0

Repave sails its way into the top tier of this year's exceptional catalog with some much needed uplifting rock music. Where Bon Iver is perhaps a more subtle entity, what strikes with Volcano Choir is that the band is a little more straightforward and upfront, but equally as dreamy in their impacting and beautiful indie rock instrumentation, taking cues from indie folk in Repave's acoustic guitar tendencies and post-rock in its build-up driven structuring. Repave is a rich endeavour for its endless succession of masterful melodies and instrumental arrangements which will surely catch you off guard, and its this songwriting skill that escalates the album's impact remarkably when it becomes apparent that Volcano Choir knows exactly what they're doing 100% of the time, and does it well. It's intent, no-bullshit music that doesn't want to prove itself as experimental or edgy, and needs only to be completely, wonderfully beautiful.
Waxahatchee Ivy Tripp
heeeeeey the song "Blue" must be the prequel to "Blue Pt. II"; KATIE PULLING A GEORGE LUCAS ON THIS ONE
We Lost the Sea Departure Songs
Weezer Everything Will Be Alright in the End
Wil Wagner What Started Off With Trespassing
"And I'm keeping Tallahassee / 'cause you only listen to Get Lonely"

seriously tho Wil Wagner is da masta of sad and I want ya to know dat if I hang meself it will b 2 his sweet sweet jamz
Willis Earl Beal Nobody Knows
Women Women
Woob Adaption
Yoshino Yoshikawa Yumetatsu Glider
Zoom Lens does it again

3.5 great
+44 When Your Heart Stops Beating
A Slow Descent Encased in Ice and Sealed in Snow
AFI Sing the Sorrow
Airospace All Dreams End
Aivi and Surasshu The Black Box
Alcest Shelter
Yo, why the fuck is this album so beautiful? It's like a sandwich of beautiful made out of Sigur Ros-sauce and Whirr-cheese and there's no meat because dead animals are not beautiful, maaaaaaaan and then it's sandwiched between two slices of fluffy epic-atmospheric-guitar-tone-infused-bread, and when you eat it the sandwich explodes in your mouth and it turns to this weird hazy dust thing while still in your mouth that envelops you from inside out in this gradual shiny fade like an erupting sunset in slow motion and you become part of the beauty and like woaahhhhhhhhhhhhhhh.
Alif Thomas Dodds Yours Truly Middle Child Sayang
Alkaline Trio My Shame Is True
all the hours you wait patience
Amber Pacific The Turn
really lame terrible awful pop punk and i don't care because these songs are so good
An Autumn For Crippled Children Everything
An Autumn For Crippled Children The Long Goodbye
Andrew Hill Pax
Antarctigo Vespucci Leavin' La Vida Loca
Antemasque Antemasque
Aphex Twin Drukqs
Arrange Their Bodies in a Fog
Ash Borer Bloodlands
B L A C K I E... All Caps, With Spaces B L A C K I E All Caps With Spaces DISCOGRAPHY
bansheebeat Wutai
Beck Morning Phase
Between the Buried and Me The Silent Circus
Binary Heart Splitsville
Birds in Row Personal War
Bomb the Music Industry! Get Warmer
Bomb the Music Industry! Others! Others! Volume 1
Have you ever just sat and listened to "SUPERTALK!"?
- Laura: "Where does George Washington keep his armies...in his sleevies!"
- John: "That's not a joke, that's just embarrassing."
Bomb the Music Industry! Everybody That You Love
Boysetsfire While A Nation Sleeps...
Cal Chuchesta ∆CALxTAPExTWO∆
I'm feeling a strong 10 to a light 11 here.
Cannibal Ox Blade of the Ronin
Caspian Waking Season
Caspian Hymn For The Greatest Generation
Ceremony (USA-CA) The L-Shaped Man
Children of Bodom Halo of Blood
Chinese Football Here comes a new challenger!
CHVRCHES Every Open Eye
CHVRCHES The Bones of What You Believe
Citizen As You Please
Clams Casino Instrumental Mixtape 2
clipping. CLPPNG
Code Orange Love Is Love // Return To Dust
Colin Stetson New History Warfare Vol. 3: To See More Light
Crystal Castles Crystal Castles II
Dads American Radass (This Is Important)
Dan Andriano in the Emergency Room Party Adjacent
Death Grips Government Plates
Album Rating: 3.6

In my original soundoff, I discussed how Government Plates is a pretty weird album. It's actually not. Sure, it uses stranger samples and effects than that of any other Death Grips release, but what do these sounds actually do? To be honest, all that's happening is that they are arranged in 4/4 bangers or more low-key ditties like "Birds" and "Big House". Some of the strangeness turns out awesome (the killer bass banging on "You might think he loves you..."), and some of it isn't as good (MC Ride's "BDA BDA BDA AWW AWWW AWWW DOY DOY DOY" thing on "Whatever I want"). Whatever it's merit, however, it's really just not that experimental of a record.

Now, THIS is the record that Sobhi was talking about: the one that pseudo-intellectual teenagers praise madly in an attempt to look smart. What's lost due to the eclecticism of the group's sound pallet is some of the natural, raw, angry energy that truly made The Money Store, Exmilitary, and the best cuts on No Love Deep Web pop. What's gained, however, is a set of tracks that are--at heart--still very fun with a simple aesthetic, but push the boundaries of "fun" with an in-your-face, albeit insane, quirk. It's not brilliant, or even that original, but it's impossible to deny that Government Plates is really, really, really fun.

In an "I like to beat the shit out of things" way.
Deflate You Can't Sleep It Off
Our friend, Perry Maltese.

Deltron 3030 Event II
Desaparecidos Payola
Descendents Hypercaffium Spazzinate
Devin Townsend Project Epicloud
Epicloud is big, operatic and filled with anthem choruses...and it seems like that is all it needs to be.
Drake Take Care
Efrim Manuel Menuck Plays "High Gospel"
Electric Wizard Time to Die
Eric Dolphy Eric Dolphy at the Five Spot, Volume 2
Eskimeaux O.K.
fauxdeep Poisoned Leaves
Fire! Orchestra Second Exit
Frank Ocean Nostalgia, Ultra.
Frank Turner Tape Deck Heart
Frank Turner Positive Songs for Negative People
Fucked Up Glass Boys
fun. Some Nights
Georgia Maq Friends and Bowler's Run
Ghostface Killah and BADBADNOTGOOD Sour Soul
Ging Nang Boyz
Ging Nang Boyz
Ging Nang Boyz 骨 (2016)
Ging Nang Boyz エンジェルベイビー
Ging Nang Boyz 恋は永遠
tfw when your favourite deafening subversive crazy destructive punk band starts making inoffensive indie pop but the songs are still rlly good
Going Steady 童貞ソー・ヤング
Going Steady BOYS & GIRLS
Seemingly dead simple, but with some absolutely classic melodies. The cleverness of Mineta's songwriting on the first three tracks also heralds the genius he would go on to achieve within the form of pop music.
Gorillaz Plastic Beach
HEALTH Death Magic
Helios Yume
Hope Drone Hope Drone
Hospital Describing Bodies
Hospital Living and Dying
Hot Water Music Exister
Iselia II: Dawn
Jesu Everyday I Get Closer to the Light from Which I Came
Joey Badass 1999
Joey Badass B4.DA.$$
John Lithgoat Who Gives a Fuck Nowhere
Joyce Manor Never Hungover Again
you fucking know it

Joyce Manor Cody
Kid Brother Collective Highway Miles
yay, more severely underrated emo unearthed from a shallow grave long after their members have moved on from music
Kittyhawk Hello, Again
Knxwledge Hud Dreems
Koji Crooked in My Mind
Koji's first full-length is a very confident effort, and certainly a strong one, but Crooked in My Mind is just too far from the masterpiece that the man seemed to tease in his earlier EPs: a great record plagued by the unreached potential to be greater.
Koji Matters
Kreator Hordes of Chaos
Laura Stevenson Cocksure
LCD Soundsystem LCD Soundsystem
Linkin Park Meteora
Madvillain Madvillainy 2: The Madlib Remix
Main Attrakionz 808s and Dark Grapes II
Main Attrakionz 808s and Dark Grapes III
Mason Wylie and the Mirsty Thercs 21 Day Mental Diet
Mathew Lim Impressions
Album Rating: 3.4

Who would have thought that, of all the mainstream-styled post-hardcore/metalcore bullshit, the best of them would be actually be a young, Asian solo artist who tracked his first recorded effort in his bedroom? I sure as hell didn't, so fuck your horizons and veils--regardless of whether they're black or pierced--because Impressions is brooding, bursting, poppy, heavy, angry, soaring, and actually good.
Max Richter Waltz With Bashir
Max Richter From Sleep
Meishi Smile Lust
Merzbow Pulse Demon
MF DOOM Born Like This
Mike G ALI
Miles Davis Someday My Prince Will Come
Misery Signals Mirrors
Mogwai Earth Division
Molecular Corporation Ambient Sputnik and The Dancing Government
MxPx Life in General
Album Rating: 3.7

Everybody's got that album. The "guilty pleasure", the one that you kind of like because it did something for you in your early musical endeavours. For me, however, MxPx's Life in General is not that album. Just look to the single "Move to Bremerton": it's immaculately crafted right down to the guitar mutes, cymbal crashing and fittingly half-hearted vocal performance. Frankly, it's hard to care that this album is so primitive and raw and amateurish, because it's a fantastic work of high-school basement rehearsal pop punk, regardless of fluke or genuine genius.
My Chemical Romance Conventional Weapons
My Chemical Romance Danger Days: The True Lives of the Fabulous Killjoys
nic Demo
So this is legit pretty good
Niechec Niechęć EP
NOT WONK Laughing Nerds and a Wallflower
Now, Now Threads
Oasis Don't Believe the Truth
Ojne Undici​/​Dodici
Old Man Gloom Seminar II: The Holy Rites of Primitivism Regressi
Owen O, Evelyn
Owen The Seaside EP
Owen Other People's Songs
Owen Abandoned Bridges
Palms Palms
Perfect Pussy Say Yes to Love
Pet Symmetry Pets Hounds
Pinegrove Cardinal
Pissgrave Suicide Euphoria
Poison the Well The Tropic Rot
PUP The Dream Is Over
Radiohead The King of Limbs
Red Hot Chili Peppers The Getaway
Ruby Nightingale Goodnight Creek
Rx Bandits Gemini, Her Majesty
Ryan Hemsworth Still Awake
Saint Pepsi Gin City
Say Anything Hebrews
Sensory Deprivation Inrepertus
Seth Boyer Get Rekt
Sigur Ros Valtari
Skinny Genes MEH
Album Rating: 3.7

Azeem "Ace" Sajid, notably of House Boat and The Steinways, has always been in the shadow of a bigger musician in each of his bands, limiting his compositional input and squashing his potential. With his solo project Skinny Genes, however, Ace finally makes a name for himself. It's a solid, eight-minute slice of House Boat-style pop punk, and it often does sound a little too much like House Boat, but Ace's combination of innovative phrasing, cool pop melodies, vocal harmonies and masterful structuring yield a listen which bodes extremely well for the future of the underrated, late blooming pop punker.
Sorority Noise Forgettable
fuck Dowsing
Spraynard Mable
Sundials When I Couldn't Breathe
Tau Tau OneWorld Star
Teeheehee Rainbow Stab Teeheehee Rainbow Stab
Tenacious D The Pick of Destiny
The D rock hard all over, but the fact that a good chunk of these tracks aren't actual songs as much as just audio from the film leaves something to be desired.
The Beatles Let It Be
The Bennies Better Off Dread
The Bruce Lee Band Community Support Group
The Bruce Lee Band Everything Will Be Alright, My Friend
The Forces Of Evil Friend or FOE?
The Gaslight Anthem Get Hurt
The Internet Feel Good
The Internet Ego Death
The Mars Volta Noctourniquet
The Menzingers Rented World
The Pillows Trial
The Pillows go straight for dead simple songwriting and it surprisingly amounts to their best record in years.
The Pillows My Foot
The Pillows Turn Back
The Pillows Nook in the Brain
The Saddest Landscape Darkness Forgives
The Seatbelts Ask DNA
The Smith Street Band Don't Fuck With Our Dreams
The Speed of Sound in Seawater First Contact
The Speed of Sound in Seawater finally, fully embrace the math pop and it sounds...

The Tallest Man on Earth The Tallest Man on Earth
The Weeknd Beauty Behind the Madness
Their / They're / There Their / They're / There
Album Rating: 3.7

Trust this unholy union of three monumental indie musicians to bring you some of the year's sweetest twinkle jams. Like frontman Evan's Into It. Over It. project but with Matt Frank's guitar wankery and the energetic mathy punk drumming of Kinsella's '90s bands: an amalgamation of three personalities into something quite original.
Thriftworks Hermetic Thriftology
Tigers Jaw Charmer
What a sweet album.

"Hum" is still the best song ever, by the way.
Titus Andronicus S+@dium Rock: Five Nights at the Opera
Trap Her Keep Her Fake Record
Trophy Scars Alphabet Alphabets
Tyler, the Creator Bastard
Tyler, the Creator Goblin
Tyler, the Creator Wolf
In case you were curious, Lucas is awful on this.
Uyama Hiroto Freedom of the Son
Vince Staples Summertime '06
Warren of Ohms Untitled
Woods of Desolation Toward the Depths
Yellowcard Lift a Sail
You Blew It! Keep Doing What You’re Doing

3.0 good
Adventures Supersonic Home
Against Me! White Crosses
Airospace The Devil and His Mistress
ALL Percolator
American Football American Football (LP2)
Anberlin Blueprints for the Black Market
Antarctigo Vespucci I'm So Tethered
Antarctigo Vespucci Soulmate Stuff
Here it is, kids, the feel-good punk album of the year.
ASAP Ferg Trap Lord
bansheebeat Galactics
Big Nig Eno Is (Not) Proud of Me
Blacklisted When People Grow, People Go
Blink-182 California
Anyone else catch the Reel Big Fish homage?
Boris Warpath
Built to Spill Ultimate Alternative Wavers
Childish Gambino Because the Internet
Cinema Staff Nostalgia
City and Colour The Hurry and the Harm
clipping. Midcity
Converge No Heroes
Converge/Napalm Death Split
Courtney Barnett and Kurt Vile Lotta Sea Lice
Cult of Luna Vertikal
Daft Punk Random Access Memories
Darkest Hour Hidden Hands of a Sadist Nation
Dead Ending Dead Ending
Death (MI) N.E.W.
Death Cab for Cutie Codes and Keys
Death Cab for Cutie Kintsugi
Deltron 3030 City Rising From The Ashes
Derek Grant Breakdown
Direct Hit! Wasted Mind
Do Make Say Think Do Make Say Think
Domo Genesis No Idols
Dr. Dre The Chronic
Dr. Dre Compton
Drake Nothing Was the Same
Fall Out Boy Fall Out Boy's Evening Out With Your Girlfriend
Foo Fighters Echoes, Silence, Patience & Grace
Frank Ocean Endless
Ghost Bath Moonlover
Ging Nang Boyz 17才
A masterfully arranged cover of a Japanese pop classic, performed in an intentionally obtuse fashion. "17" sounds flat and lazy until you realise the band is still trying really hard on this track; only this time, they're trying hard not to sound "good", at least in that immediate sense. As they've often done, albeit not as bluntly, the Ging Nang Boyz turn the ugliness of a buzzsaw guitar intro, a squashed mix, a jarring keyboard solo, quaking drums and shaky vocals into a beautifully sincere and earnest work on this single. The only real detraction to the single is that it sounds like an introduction to an album, except without the album. Of course, it would eventually come to be the opener to I was standing in the light in 2014.
Ging Nang Boyz ピンクローター
An A-side that ranks amongst Ging Nang Boyz's best tracks, and some enjoyable but largely unremarkable accompanying tracks.
Ging Nang Boyz SEX CITY 〜セックスしたい〜
Music from a play the Ging Nang Boyz worked on, I believe?
Going Steady You & I
Going Steady 青春時代
GOOD Music Cruel Summer
Got A Girl I Love You But I Must Drive Off This Cliff Now
Grimes Geidi Primes
GZA Legend of the Liquid Sword
Hands on the Stereo Teamwork Makes the Dream Work
Album Rating: 3.2

Sounding like an amateur-ish version of old Four Year Strong, the EP has moments where Hands on the Stereo really shine ("Into It, Over It") and others that are just head-shakingly bad (there is a ton of god-awful breakdowns on this thing).
Honeyblood Honeyblood
Hotel Books Run Wild, Young Beauty
Cam Smith can only go so far on his own. Despite the sincerity and passion in both his poetry and vocals, Smith's work as the central figure of emo spoken word project Hotel Books has never escaped the melodramatic, cliche romanticism that continues to turn so many people away from his music. With little growth or variation in his vocal style to accompany this, as well as a drop in the quality of their releases following the compilation This is All We Have, Hotel Books seemed forever doomed to mocking and trivialisation as generic Tumblr bullshit set to predictable emo and post-rock instrumentals. I've always been of the opinion that the weaknesses in Smith's contributions to the project have to be made up for by his instrumental partners, so it's fortunate that the reassembly of Hotel Books' lineup after the abysmal I'm Almost Happy Here, But I Never Feel at Home has been successful in giving listeners a new glimpse of hope for Hotel Books in the form of their latest full-length Run Wild, Young Beauty. Although Smith's vocal work has made only a marginal step forward with some new tricks added to his vocabulary of rhythms and inflections, it's his skill as a poet that will most affect the listener on Run Wild, Young Beauty; an impressive show of clever and profound lines that grants his somewhat trite but no less genuine subject matter a new degree of merit and efficacy. However, the true success here is owed to Smith's backing band consisting of guitarists Dan Colasanto, Kaleb Thibeau and drummer Andy Garcia, whose gorgeous instrumentals--though structurally and stylistically unoriginal--offer an assortment of compelling grooves and graceful melodies for a fully realised collaborative sound that draws as much attention as--and works in tandem with--Smith's vocals, to which Hotel Books instrumentalists previously served as little more than suppliers of ambience. The result is less of a spoken word effort than ever before, exhibiting Hotel Books in a very different form than that which established the project; they're a real band now, binding songs together as a cohesive unit rather than merely plastering background music onto poetry. It can't yet be said whether this is a more favourable direction, as Run Wild, Young Beauty is still plagued with the same old pitfalls that Smith and co. have always fallen into, some more than others: played-out emotional expressions, an unchanging vocal style, and run-of-the-mill, "scene"-emo instrumentals. However, it would be an injustice to undersell Run Wild, Young Beauty to anybody that has ever felt some prior connection to this group, however minimal, as this is a relatively strong effort and a satisfying improvement over their last album. Nobody's ever expected or demanded anything amazing from Hotel Books, and you're certainly not getting it with this latest record, but Run Wild, Young Beauty is good stuff. Really, just good stuff.
iNTRiKeT Songs For Sleepy
Joan of Arc He's Got the Whole This Land is Your Land in His Hands
John Lennon Imagine
"It's a Hallmark card set to music." - Frank Turner
Joyce Manor Of All Things I Will Soon Grow Tired
Kanye West Graduation
Kashiwa Daisuke Kotonoha no Niwa Soundtrack CD
Killswitch Engage Disarm the Descent
Album Rating: 3.2

Killswitch's latest effort is predictable. Fine. I don't care. The atmosphere is fantastic on a lot of these tracks, some of the riffs are actually quite compelling, and its dynamically pretty interesting. All I could ask for from five guys who dominate metalcore on that side of the river.
LCD Soundsystem American Dream
Less Than Jake In with the Out Crowd
Liam Gallagher As You Were
Lieutenant If I Kill This Thing We're All Going to Eat for a Week
Lil B 05 Fuck Em
Lorde Pure Heroine
Los Campesinos! Hello Sadness
Max Goes to Hollywood REALTALK
Metallica Death Magnetic
Minor Threat Salad Days
Minus the Bear Infinity Overhead
Modest Mouse Strangers to Ourselves
Monoliths. Apeiron
Monoliths. Black Santa Rides The Firetrain
MxPx Plans Within Plans
N.W.A. Straight Outta Compton
Neurosis Honor Found in Decay
New Found Glory Catalyst
Nirvana Bleach
Noumenon Party Mathematics
Opeth Heritage
Owen/Into It. Over It. Split
Nice little listen, but way too short and honestly a bit of a letdown. Here's a track-by-track:

- "Poison Arrows" is a highly enjoyable and concise little offering from Mike, despite sounding like the same old Owen. There's really not much more to say about it.

- If you watch that A.V. Club video where Owen covers Jane's Addiction's "Summertime Rolls" at a Hot Doug's, he mentions that he was originally going to cover "Summer of '69" by Bryan Adams but decided against it because it's "really hard to play 'Summer of '69' different from how Bryan Adams plays it." Surprisingly, this is exactly how I feel about Into It. Over It.'s cover of Kinsella's "Poor Souls"; Evan filters the barebones acoustic original through the adventurous manipulations of timbre that he previously utilised on his sophomore full-length Intersections, but is somehow unable to effectively distance his rendition from the source material. Maybe it's just that Kinsella's stylistic imprint is irremovable from this particular composition, but there's other detracting points, too: the oversaturation of effects on Evan's cover blunts the emotional impact that was the strong point of the original, and the entrance of drums towards the end of the song is a strikingly uninspired move. It's not necessarily a bad track--probably a testament to the strength of the original composition--but Weiss' choice of covering "Poor Souls" out of all the songs from Owen's repertoire was something of an unnecessary move.

- When "Local Language" first started popping up on the web in live videos, I was convinced that it was one of Evan's best songs. While those solo acoustic live versions of it have held up pretty well, however, I was somewhat underwhelmed by this studio recording. Not only does it omit the wonderful guitar melodies in favour of a big, full band sound, but the resulting heavy, stomping feel of the song is just way too similar to another IIOI song called "Spinning Thread"; half the time, I think the song is going to go into that "I've been trying for the sake of trying" part off the aforementioned Intersections track. That's not to say that there isn't plenty of great moments on the song, but the overall product suffers from that familiarity. I'll probably end up listening to the version of "Local Language" from the Daytrotter session more than this one.

- Y'all who have heard this release know exactly what all the fuss is about on this closing track, Owen's cover of one of Into It. Over It.'s oldest but most highly regarded songs, "Anchor". One could presume that Mike was going to take the easy road and regurgitate the low-key acoustic piece in his own voice, but I'm sure that Kinsella knew that his cover would need a little something extra to do it justice...and by "a little something", I mean completely turning the song on its head by transforming it into a melodic punk rager. Kinsella has, for the most part, left his punk roots in the dust with his latest musical output, so it's a pleasant surprise to hear him pouring it all into intent drums, crunchy chords, distorted melodies, and a remarkable vocal performance that gives us the singer we all know and love as we've never heard him before, reaching for loud and passionate and furious at the song's highest points; there's even a cute little voice crack in the song's last verse, just to let you know that Mike is really trying.
Paramore Brand New Eyes
Rally Cats Strictly For Your Own Pleasure
Ricky Eat Acid Mixtape
Seahaven Winter Forever
Sex-Dragoon Mayo
Shai Hulud Misanthropy Pure
Slint Tweez
Sparta Threes
Streetlight Manifesto 99 Songs of Revolution: Volume I
Sum 41 Underclass Hero
Talk Talk It's My Life
Tame Impala Currents
Tenmon Byousoku no 5cm
The Clash Sandinista!
The Decemberists What A Terrible World, What A Beautiful World
i feel kind of bad for the band that this leaked so insanely early but WHOOOOOOO NEW DECEMBERISTS
The Delicious Bread Collection Equals Hitler
The Dismemberment Plan Uncanney Valley
The F-Ups The F-Ups
The Flaming Lips At War With The Mystics
The Men New Moon
The Offspring Americana
The Pillows Good Dreams
The Pillows Horn Again
The Pillows Thank You, My Twilight
The Pillows Living Field
The Pillows 90's My Life
The Pillows Another Morning, Another Pillows
The Pillows Pantomime
The Pillows Kool Spice
The Pillows Penalty Life
The Pillows OOPArts
The Pillows Moondust
Album Rating: 3.2

Like almost every Pillows album since Thank You, My Twilight, Moondust holds an inconsistent portion of some great songs from the band between some of their less favourable ones. The situation on this latest effort, however, is much less severe than it was on Pied Piper or Wake Up!: "Happy Birthday", "About a Rock'n'Roll Band" and the title track are easily among the absolute best of The Pillows and justify the album's existence alone, and even the more forgettable tracks on Moondust like "Song for You" and "Message" aren't terrible, though the album would have been better without them. Moondust also sees something of a return to the heavier rock sound of the band's King Records catalogue, which is sure to please fans that have criticised The Pillows' more lighthearted output since their move to Avex Trax. Ultimately, Moondust will surely find a place with longtime fans of the aging trio, although the band is still far off from the truly remarkable records that they have been unable to craft since the '90s. Nevertheless, Moondust perpetuates one important truth about The Pillows: there's something on every single one of their albums that you're sure to enjoy.
The Pillows Stroll and Roll
The Roots ...And Then You Shoot Your Cousin
The Wonder Years Manton Street
The World Is a Beautiful Place... Josh Is Dead
Thrice Identity Crisis
Thundercat The Beyond/Where The Giants Roam
Thursday Waiting
Tigers Jaw Two Worlds
Trap Them Blissfucker
TTNG Disappointment Island
Waxahatchee Cerulean Salt
Wolves in the Throne Room Celestial Lineage
Wolves in the Throne Room Celestite
Xasthur To Violate the Oblivious
Yellowcard Ocean Avenue Acoustic
Yung Lean Unknown Death 2002
Yvette Young Acoustics
This is pretty nice math pop on acoustic guitar. I can name-drop a whole lot of RIYL stuff like any one of Mike Kinsella or Damien Verrett's projects or TTNG's latest album but the truth is that this is just nice beautiful-type sappy-type acoustic shit with twinkle riffs. Take it or leave it, but the first track is a real hooker so it's worth a quick listen for sure.


2.5 average
1902 Motsi
A Loss For Words Before It Caves
AC/DC Highway To Hell
AFI Crash Love
Against Me! True Trans
Against Me! Shape Shift With Me
Agalloch The Serpent and the Sphere
AJJ Christmas Island
I couldn't say that I care much about this record but thank God it exists, solely for the purpose that "Do, Re, and Me" and "Linda Ronstadt" are two of my favourite songs of the year.
Angels and Airwaves Love - Part II
Animal Collective Centipede Hz
Anti-Flag American Spring
Bad Brains Into The Future
Bad Religion Into the Unknown
Beach Slang The Things We Do to Find People Who Feel
Billy Talent Billy Talent III
Botch The Unifying Themes of Sex, Death, and Religion
Burzum Sol austan, Mani vestan
Caravels Lacuna
Chester Watson Phantom
Code Orange I Am King
Coldplay Mylo Xyloto
Common The Dreamer/The Believer
Cynic Kindly Bent to Free Us
Dangers 5 O'Clock Shadows At The Edge Of The Western World
Defeater Abandoned
Descendents Enjoy!
Dowsing I Don't Even Care Anymore
Album Rating: 2.7

The candle burns bright for whole soft emo thing with Topshelf and CYLS at the helm of the growing, united scene, and Dowsing is one of the slightly bigger bands out there, making a name for themselves nationally. Unfortunately, their music has never been that great. I Don't Even Care Anymore in particular is a glowing example of the staleness that emo and the emerging twinklecore subgenre has been faced with time and time again, and though the songwriting here actually holds it own surprisingly well for something that is so unoriginal, it doesn't suppress the fact that this just feels disaffected, lazy, and extremely been-there-done-that: the backing vocals are the only thing that make this seem at all passionate. There are a few choice cuts, but I Don't Even Care Anymore is ultimately forgettable even though the damn thing is so short.
Drake Thank Me Later
Dream Theater A Dramatic Turn of Events
Drudkh A Furrow Cut Short
Eminem The Marshall Mathers LP 2
Explosions in the Sky Take Care, Take Care, Take Care
Fishbone Chim Chim's Badass Revenge
Foo Fighters Sonic Highways
Four Year Strong In Some Way, Shape, or Form.
Frank Turner Poetry of the Deed
Funeral for a Friend Tales Don't Tell Themselves
Gob Foot In Mouth Disease
Guns N' Roses Appetite for Destruction
Hands Like Houses Unimagine
Hatebreed Hatebreed
Hodgy Dena Tape 2
Inc. No World
Japandroids Near To The Wild Heart Of Life
Jay-Z Magna Carta... Holy Grail
Justin Timberlake The 20/20 Experience - 2 of 2
Kanye West Yeezus
Kayo Dot Coyote
Lemuria (USA-NY) Pebble
letlive. The Blackest Beautiful
Album Rating: 2.7

Some time after Fake History came out, I found myself grappling with the question of whether letlive. were really brilliant, inventive post-hardcore groovers or whether they had just stumbled upon a golden formula...I guess I got my answer with this album. The Blackest Beautiful is a set of great ideas buried under overproduction which not only yields a flat and weak record devoid of the rawness that this band thrives on (part of which is the blame of the overemphasis on frontman Butler's vocals), but also tacks on a bunch of inconsistent and sometimes even incoherent effects embellishments which scream "artificiality". The band's songwriting is also disappointingly lazy and sees the potential of so very many songs go to waste between weak filler and pop hooks which inevitably turn thin. It's really just a lame version of Fake History which tries to grow and actually ends up falling into a totally uninspired and unengaging sound, the exact opposite of what brought them acclaim with their previous record.
Leviathan True Traitor, True Whore
Long Lost Save Yourself, Start Again
Macintosh Plus Floral Shoppe
Macklemore and Ryan Lewis The Heist
Man Overboard Heart Attack
Matt Skiba and the Sekrets Kuts
MellowHype INSA
Merzbow and Xiu Xiu MERZXIU
Mindless Self Indulgence If
Mogwai The Hawk Is Howling
More Than Life What's Left of Me
Moving Mountains Waves
Myrkur Myrkur
Nate Ruess Grand Romantic
Oasis Standing on the Shoulder of Giants
OFWGKTA 12 Odd Future Songs
PC Music PC Music Vol. 1
Powderfinger Golden Rule
Radiohead Pablo Honey
Ramones Pleasant Dreams
Rancid Let the Dominoes Fall
Refused Freedom
hey the guys from reel big fish are totally on this album
Rise Against Endgame
Rise Against The Black Market
Santana Shaman
Saosin In Search Of Solid Ground
Say Anything I Don't Think It Is
SBTRKT Wonder Where We Land
Silverstein Arrivals and Departures
Stalingrad Stalingrad
Starkweather Crossbearer
Sufjan Stevens Enjoy Your Rabbit
Teeheehee Rainbow Stab Pizzaface
The Ackleys The Ackleys
The Dear Hunter Migrant
The Internet Purple Naked Ladies
The Jesus Lizard Blue
The Pillows Moon Gold
The Pillows Wake Up! Wake Up! Wake Up!
The Pillows Pied Piper
The Promise Ring Wood/Water
The Weeknd Kiss Land
The Wonder Years Get Stoked on It!
"When Keeping It Real Goes Wrong" is practically the exact same track as "Won't Be Pathetic Forever".
The World Is a Beautiful Place... Between Bodies
Transit Young New England
Trash Talk 119
Willis Earl Beal Acousmatic Sorcery
Beal himself said something along the lines "like walking in on someone taking a shit" in referring to this record (ref: Nardwuar interview).
Wu-Tang Clan 8 Diagrams
Wu-Tang Clan A Better Tomorrow

2.0 poor
A Day To Remember Common Courtesy
Album Rating: 2.1

Especially since Homesick, the way I've judged A Day to Remember is by drawing a line in the sand between their above average, and often enjoyable pop punk material, and their unnecessary and sometimes downright awful metalcore bullshit, since the two have rarely mixed well as of late. On Common Courtesy, the metalcore bullshit is--as expected--bullshit. Over on the pop punk side, A Day to Remember produce enjoyable, anthemic songs yet again, but suffer from a degree of sameness and a deficiency of truly inspired songwriting traits or motifs that render the album a chore to listen to from front to back. In the end, Common Courtesy is merely another A Day to Remember record: one as unsatisfying as any post-For Those work of theirs until the day that they finally ditch their run-of-the-mill metalcore tendencies and instead pour their aggression into a track like "Best of Me". Take it or leave it.
Animal Collective Monkey Been to Burntown
Animal Collective Danse Manatee
ASAP Mob Lord$ Never Worry
B.o.B The Adventures of Bobby Ray
Being As An Ocean Dear G-d
Ceremony (USA-CA) Zoo
Childish Gambino Camp
Citizen Everybody Is Going to Heaven
Complete Freedom Earth Is Dust
Converge Halo in a Haystack
Converge Gravel
Dads I’ll Be The Tornado
Death Grips DxDG
Defeater Letters Home
Album Rating: 2.2

I think what pisses me off the most about Letters Home is it's an LP. I mean, it's not like what's here is awful, but it's really, really forgettable. Considering the amount of actually interesting moments here that have been cut off by some predictable, dead obvious Defeater structural habits, this could have been condensed into an EP. Think about it, if a Travels-tier record came out from these guys tomorrow, you wouldn't give a fuck about this record. If this were an EP, you'd spend maybe 10-15 minutes of your not-so-precious time listening to this EP and it might actually be memorable enough to come back to. So, Defeater, if you're ever feeling uninspired again, just make a short EP instead of trying to bust your chops making another shitty album.
Descendents Sessions
Disturbed The Sickness
DJ Shadow The Outsider
DJ Shadow The Mountain Will Fall
Eminem Recovery
Evan Parker, Derek Bailey and Han Bennink The Topography of the Lungs
Fall Out Boy Save Rock and Roll
Honestly, how much is there to say about this record? "It's a generic piece of synthetic garbage!" "No, it's uplifting and ambitious!" Blah blah blah. You know what? Fall Out Boy made a pop record. Surprise!

Also, if you've ever made the "this is shit/not rock and roll, so the Save Rock and Roll title is stupid" statement, then I hope that you know that it is the furthest thing from witty because it is the most obvious thing you could possibly say about this album and you are shooting fish in a barrel.
Fall Out Boy PAX AM Days
I'm pretty sure that the reason I hate this so much is that Patrick's vocals really do not fit at all on this thing except maybe on "Caffeine Cold" and "Love, Sex, Death". I hope he knows that he's not Glenn Danzig.
Falling in Reverse The Drug in Me Is You
From First to Last Dear Diary, My Teen Angst Has a Body Count
Gorillaz The Fall
Gravediggaz Nightmare in A-Minor
Green Day 21st Century Breakdown
Hodgy The Dena Tape
Hodgy Untitled 2
I still love BlackenedWhite, but at this point, I've totally given up on Hodgy. I mean, "Alone" and "Karateman" are okay but does anyone really give a fuck?
Hurts Happiness
I Kill Giants No One Will Ever Leave You
In Flames A Sense of Purpose
Isis Sawblade
Jay-Z The Blueprint 3
Jimmy Eat World Jimmy Eat World
Kanye West The Life of Pablo
Kid Cudi Satellite Flight: The Journey to Mother Moon
Kid Cudi Indicud
Kid Rock Devil Without a Cause
Killswitch Engage Killswitch Engage II
Kings of Leon Only By The Night
Lars Frederiksen and the Bastards Viking
Leftover Crack Constructs of the State
letlive. Exhaustion, Salt Water, And Everything In Between
Linkin Park Minutes to Midnight
Liturgy Aesthethica
Mac McCaughan Non-Believers
mad dads mad dads (demos)
MellowHype Numbers
Album Rating: 2.1

Where BlackenedWhite finally saw promise in then-amateur Hodgy Beats, Numbers sees him fall flat on his face. His rhythms are constantly recycled, his style is tired beyond belief, and his lyrics and hooks are often just awful (what the hell is "a herpe at the tip of a slurpee"?). Left Brain is in good form on a few of these tracks, but whatever worthwhile beats he is able to churn out are unfortunately unable to lift off the ground without complementary chemistry from Hodgy.
Modern Baseball You’re Gonna Miss It All
Mumford and Sons Babel
Somewhere out there, there's some tigers riding trains.
Myrkur M
NOFX Maximum Rocknroll
Oasis Heathen Chemistry
OFWGKTA The Odd Future Tape
Oh Wonder Oh Wonder
Parkway Drive Deep Blue
Polar Bear Club Death Chorus
Raekwon Fly International Luxurious Art
Rancid Honor Is All We Know
Red Hot Chili Peppers The Red Hot Chili Peppers
Reel Big Fish Candy Coated Fury
It's mostly a rehashed bummer, but there are some tracks, particularly the hilarious reggae jam "Hiding In My Headphones" and the single "I Know You Too Well To Like You Anymore", that do prove worthy additions to the RBF discography.
Say Anything Anarchy, My Dear
Slayer Diabolus in Musica
Slayer Repentless
T.S.O.L. Life, Liberty & the Pursuit of Free Downloads
The All-American Rejects Kids in the Street
Album Rating: 2.0

Combining horribly generic pop rock techniques with a bit of "silly for the sake of silly", the once guiltily enjoyable All-American Rejects have compiled an entirely unfocused album reliant solely on the aforementioned combination in a failed attempt to formulate an album establishing maturity yet with a sprinkle of childishness (a la Weezer). The album is riddled with interest-sparking moments (e.g. some of "Fast and Slow", the guitar solo on "Heartbeat Slowing Down"), but leaves far too much to be desired between its overall underwhelming-ness.
The Bouncing Souls Comet
The Decemberists The King Is Dead
This is soooooooooooo boring.
The Fall of Troy In the Unlikely Event
The Fray How to Save a Life
The Seatbelts Cowboy Bebop Remixes: Music for Freelance
The Story So Far Songs Of
The World Is a Beautiful Place... The Distance
Three Days Grace One-X
Tim Kasher The Game of Monogamy
Tom Delonge To The Stars... Demos, Odds, and Ends
Trash Talk No Peace
Tyler, the Creator Cherry Bomb
Various Artists (Punk) Japanese Pop Punk Compilation 2012
Venom From the Very Depths

1.5 very poor
3 Inches of Blood Here Waits Thy Doom
50 Cent The Massacre
Amber Pacific Virtues
Angels and Airwaves ...Of Nightmares
Bad Brains God of Love
Corrupted Loss
dredg Chuckles & Mr. Squeezy
Dry Satire Demo
Ed Sheeran +
Escape the Fate Escape the Fate
Fall Out Boy ****: Live In Phoenix
Fall Out Boy American Beauty/American Psycho
HORSE the band Secret Rhythm of the Universe
Hotel Books I'm Almost Happy Here, But I Never Feel At Home
House Vs. Hurricane Crooked Teeth
Imagine Dragons Night Visions
Kreator Endorama
Loma Prieta Matrimony EP
Megadeth Super Collider
MellowHigh MellowHigh
Album Rating: 1.7

Taking jabs at all three of the individuals that make up MellowHigh is an affair that could surely substantiate essays, but the truth is that the trio's first collaborative full-length suffers mostly from the fact that it does not stick. The combined effect of having two MCs who contribute nothing more than an endless succession of samey verses, a producer who insists on throwing totally random shit into a 4/4 sequencing and calling them "beats", and a surplus of boring hooks yields only a single word: forgettable. While I have to give credit to "Yu" and "Troublesome" for being excitingly constructed--especially concerning production--there's just too little on MellowHigh that makes the album seem at all focused, or even thought out.

Meanwhile, Tyler makes a horror movie: http://www.youtube.com/watch?v=bwnpDxAgcO4
Misfits Project 1950
Muse The 2nd Law
My Bloody Valentine This Is Your Bloody Valentine
Nas Nastradamus
NOFX Liberal Animation
Omar Rodriguez-Lopez Despair
Paramore Paramore
Plain White T's Every Second Counts
Run the Jewels Meow the Jewels
Sleeping With Sirens Feel
Sum 41 Screaming Bloody Murder
Sum 41 make dark, heavy rock songs that sound fucking confident and driven and important until you realise that nothing they do is interesting at all.

Anyone can go on and on about why this album sucks and how much they hate it but I most certainly believe that the above sentence defines this entire album completely.
The Black Eyed Peas The E.N.D. (The Energy Never Dies)
The Clash Cut the Crap
The Delicious Bread Collection Pumpkin Bread (2delicious4me)
The Front Bottoms Back On Top
The Gaslight Anthem The B-Sides
The Summer Set Legendary
The Weeknd Trilogy
The reasons this sucks are very simple:
- remastering such perfect tracks a year after release is absolutely pointless.
- a lot of the atmosphere (which pretty much made Abel's career) is lost in the remastering.
- the small edits made to the old tracks are also pointless and actually reduce the quality of the record.
- the new tracks feel like second-rate outtakes.
Travis Barker Give The Drummer Some
Trivium The Crusade
Weezer Raditude
Whitechapel This Is Exile
Xasthur All Reflections Drained
Yellowcard Midget Tossing
Young Thug 1017 Thug 3: The Finale

1.0 awful
Avicii True
Black Flag What The...
Bullet For My Valentine Temper Temper
Celtic Frost Cold Lake
Falling in Reverse Fashionably Late
Duh, it's a 1.
Kerser The Nebulizer
Album Rating: Really fucking low

Kid Cudi Speedin' Bullet 2 Heaven
Kidz Bop Kidz Kidz Bop 23
Album Rating: -1

these niggas bop hard watch your back Coltrane
Lupe Fiasco Lasers
Mac Miller Blue Slide Park
Miley Cyrus Miley Cyrus and Her Dead Petz
Myrimin Bolota Ohta
Pantera Metal Magic
Simple Plan No Pads, No Helmets... Just Balls
Skrillex Leaving
Static Colours Sun Swells
Teeheehee Rainbow Stab Murder Breath
Turnstile Nonstop Feeling

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