Minho Park

I liked this overall, but it's kind of a mixed bag. Cool to see some of her harder, four on the floor and DnB sensibilities from her DJ sets come through on her studio work, which often leans lighter and poppier. Some of the synth work is overly simplistic and falls flat.

But I will always gas up Peggy due to sheer Korean nationalism alone. Catch one of her DJ sets if you have a chance you won't regret it.

As with all of his records, I'm more drawn towards the tracks with ambitious non-hip-hop inspired production that draws on genres from disco to latin groove.

The hour+ track list doesn't hold my attention all the way through but I cannot deny that Kaytranada continues to rip when it counts.

Solid solid solid shoegaze that doesn’t reinvent the wheel, pays respect to those that came before, and makes you wanna melt into the soundscape.

I don't feel like Crumb is doing anything new on this one, but its a solid mood listen if you like their sound and style. As always Jesse Brotter's bass work is a consistent highlight.

Who is this band, where did they come from, and how did they release an ambitious and sweeping folk-prog EP that has no business being this good.

A soft, nice, and uninteresting listen.

I've always had this intrusive thought that Charlotte Day Wilson's voice is what opium would sound like if it could talk.

Wonderfully self produced with absolute head banger singles. Flea is probably my favorite St. Vincent song of all time.

Front half hits so heavy while the back half is a little sleepy for my tastes, but an incredibly solid record nonetheless.

Happy Justice Day. Justice has a special place in my heart - they're the first electronic artist that captured my attention as a preteen musical fledgling. † fully dug deep sawtooth grooves into my young brain in which it continues to live rent free to this day. So you can say that I was really stoked for this record. And it really doesn't disappoint.

The record calls back to the brutalist gothic mania of their first album, refines the prog synth wave of 'Audio, Video, Disco' and the arena disco of 'Woman', weaving through these feelings so seamlessly and with a cohesiveness and freshness that I haven't felt since †. Big ol' smile on my face after this one.

A beautiful, thoughtful, flute-forward record. The album is a journey - it picks you up softly with airy flutes and string runs and sets you down gently with spoken word and west african 4:3 polyrhythms. Subtle but impressive contributions ranging from Floating Points and Esperanza Spalding.

There is so much to appreciate here!

Fun bops that all sound so similar that if Nia didn't repeat the track titles during the chorus of each song I would be incredibly lost. I listened to this album while I was rock climbing and sent a problem I've been working on for a while though so points for that.

The 19th record from these SF legends. I cannot say that I have listened to all 19, because I haven't, and I'm sure there are some absolute stinkers in the catalog due to large sample size and Gaussian distribution, but this one absolutely hits. Shoegazey math rocky hyper punk goodness. And this one is entirely in Japanese.

one moment thom croons sweet somethings about the tragic beauty of humankind then the next i'm getting blasted with high gain full octane overdriven guitar. more of this please.

this record came out forever ago but i still feel the need to say something about it. this record is a massive departure from their previous work. adrianne and buck have demonstrated incredible folk talent through their solo endeavors, but big thief largely remained outside of that world, until this album. and what a gem it is. it blends the simplicity of folk tunes with the complexity of lyrical themes and instrumentation. 80 minutes and not a single dull moment, which is a ridiculous achievement in a record. i'm still listening to this, all the time.

back to the basics. they know what they are and kill it every time. Todavía viva might be my favorite groove they’ve ever made tbh

I don’t know how to write about this record. it’s dancey and hard and meta and shitty and angry and silly and beneath the don’t-give-a-fuck of it all lies something really clever. Blackpool illuminations is my favorite.

i generally fuck with everything adrianne does. she's a special songwriter, one that i really admire in her ability to weave the personal with the universal. sometimes i listen to records and think, wow, i can really feel what you felt and see what you meant. no bullshit. straight to the source of wherever it came from. this is one of those records. sadness as a gift is a straight 5/5 for me.