Reviews

Haunting and moody.

I still remember how I found out about Broadcast. I was a Stereolab-obsessed girl and on an issue of Select magazine from the 90s, they were compared to Broadcast. This was my introduction to them, and immediately I was hooked. Found them moodier but no less exceptional.

Whenever I listen to this, it feels like I am drowning in a sea of intense emotions. Don’t ask me how many times I have listened to In Your Room.

It’s kind of a great big indie secret, isn’t it? Very little is known about the band, there are so many speculations as to who are ‘Alex Hopkirk’ and ‘Ronnie Lee.’ Probably just pseudonyms, are they possibly the Reid brothers? Michael Head? even Beulah has come up… there were also some news they worked at a Rough Trade store and later released as a band called Bitter Herb. Whenever their name comes up, people are surely talking about them, we have all been curious to find out. They are not on Spotify. They released just 4 songs, all good, and then gone. The track ¡Free Arthur Lee! is 2 minutes of perfect blissful pop song. This one was… More

I was duped by the first two songs, which were passably fun! What a confusingly bad release that reminds you that quantity of quality is not a good approach to a good legacy. I may sue for ear damage. Giving 1 star because it's only 21 minutes long.

An absolute banger along with Yearbook 2. Wish it can have a vinyl release, but Dan said it won’t be reissued. 🥲

Always loved this album. It deserves the re-issue. More people need to know about it.

Will he put out a record that's even mediocre? Likely not. Does this have the magic of some of his classics? No. Will I come back to it? Yes, yes, yes.

It’s phenomenal. Waiting for the day this is reissued on that 10” or the 12” is fine too. Absolutely love this band.

I love this band so much. This was my introduction to them those early 2000s. It Never Entered My Mind never left my mind. I would put it on so many lists or mixes I made.

right to the action for everyone.
"starting to see spaceships on rosecrantz" is up there for one of my favorite music moments in recent memories, playing off the nostalgia of jeezy.

Kate Nash’s Made of Bricks (2007) holds a special place in my heart, and it’s no surprise why. Her unique voice, with its mix of sweetness and rawness, truly captivates me. The way she effortlessly swings between vulnerability and strength in her delivery is nothing short of remarkable. But it’s not just the voice—it’s also her distinctive Cockney dialect that adds an extra layer of charm, making every song feel so personal and grounded in her own life experiences. Tracks like “Foundations” and “Mouthwash” capture her wit and emotional depth so perfectly.

Even her more recent album, while not as groundbreaking as Made of Bricks, still carries that spark of authenticity. It’s not a… More

A phenomenal, timeless album.

Wears its 80s influences proudly and confidently—there's some "Love Talkin' (Honey It's You)" in track 6 and "Clouds Across the Moon" in track 8—but for me that makes it even more charming.

It's hard to review this album. Gould worked and reworked Bach during most of his life. When he first hit the scene, he played Bach differently on recordings and live, differently than most other pianists, definitely with more verve than most others, due to his wondrous technical skills but also without any fucking care about being subservient to God, meaning Bach.

This is a collection that both serves as a plain painting of Gould's brilliance as a piano player but mainly in showing how differently he played materials that are largely considered to be above its players; when hearing Gould play, I think its evident he's on par with Bach. Sure, Gould interprets what another person gas composed, but damn… More

Hostia vaya discarral asi sin comerlo ni beberlo.
Lo de los niñes rata metidos en su habitación ya sea en Corea o en Brasil es para pensarlo seriamente!
CACAO MARAVILHAO!

Si ya los recopilatorios de demos y descartes son por naturaleza un poco random este, que mezcla canciones de épocas completamente distintas sin ningún tipo de criterio o de hilo conductor aparente, aún más. Destacan quizás los descartes del Make Believe (Blowin' My Stack, I'm a Robot) por mostrar una cara de aquel disco que se quedó por el camino, así como alguna demo bastante cruda pero muy Weezer old school (Trampoline). Por lo demás, Más una colección de curiosidades que un lugar donde encontrar verdades joyas ocultas.

Momento de vergüenza ajena
Turning Up The Radio - A Rivers le dió por intentar componer y arreglar una canción con sus fans. A través de una serie de videos de YouTube… More

2024 has been one helluva year for Hip-Hop in the public eye, specifically emanating from a dynamic beef between two heavyweights in this era of the genre, Drake and Kendrick Lamar, over the summer. It brought back memories of iconic beef and the tug-and-pull between fandoms, like East Coast vs. West Coast in the 90s or my generation with Eminem vs. Ja Rule / Jeezy vs. Gucci Mane in the 2000s. Since the final tracks laid waste to the musical side, the internet has lost all essence of rap beef nuances, further influencing some people to speak out in unexpected ways, like Lil Wayne and others when Kendrick Lamar was given the Super Bowl Halftime Show as the first solo Hip-Hop… More

The last piece, the nearly-one-hour-long spoken-word piece felt like a thing of its time... From the 'hip' studio technician down to the British-English ultra-posh man who constantly spoke down to the female interviewer... Wow.

Album is definitely a bit too inconsistent compared to previous releases. The first half of “Anybody” through “God of Everything Else” hits very hard and shows their versatility, but then the album settles too comfortably, with a few highlights (like “Wednesday” and “Sick of the Blues”). Not disappointed and a fine addition to their discography, but left wishing I had more to chew on.

Don’t kill his vibe.

Faime feliz, despois de tantos anos e tantos discos, volver sentirme coma na casa escoitando música nova de Opeth. Non preciso que este álbum sexa perfecto (non o é), pero dificilmente a estas alturas ían sacar algo que me gustara máis. Foi coma tomar un café con alguén a quen quixeches moito e con quen hai xa tempo que non compartes vida. Sempre se agradece un reencontro agradable, aínda ca melancolía do que xa non vai poder ser.

We love you, Migueliño!

more sax more sax more sax more sax more

The fact that this is one of my favorite childhood albums says a lot about me as a kid.

We’re not taking any crazy risks here. We’re not exploring the bounds of the genre or anything. Like riffs? Sick—here are some good black metal riffs. Like blast beats? Of course you do. My lizard brain loves when the double bass drum goes dun-dun-dun real fast.

Because he's drawing material from varied projects spanning over ~12 years, it does play differently than a more conventional studio record might but this turns out to be one of its many strengths. Each track is a new world that demonstrates Fleischmann’s rich musicality and imagination. The Humbucking Coil was a favourite way back, but I somehow lost track of his output along the way — this has been a delightful way to drop back in.

I'm surprised by this album. I'm not a Pavement fan, but I am a fan of Silver Jews and Purple Mountains, if that counts.

I really like Stephen Malkmus's vocals. The production is nice. The songs seem to have been the main objectives on this album: all people involved for the best of the individual tracks, more than 'let's just make music because we like each other'.

I can't remember a single melody of a single song on this album, but I've listened to it twice over two weeks. I rarely revisit new albums but I will relisten to this album. Mmm-good.

Roedelius has just turned 90 years old. He still makes music and tours! This is a three-hour-long compilation that made me go through these stages:

1. Wow, this sounds slightly dated.
2. Oh, this melody is great.
3. This brings me back to Tangerine Dream's 'Phaedra' album (which is brilliant).
4. This is quite mesmerising; scratch my point #1.
5. The best stuff is the melodies and harmonies.
6. This guy was in Harmonia and Cluster. And he's in Qluster.

It's worth it. This music is very calm and simple and intricate.

Let’s be honest, if you like them, you love them. They’re truly in a league of their own, and this comeback did not disappoint. There were a couple track which I think showed small signs of regression, where the compositions weren’t as intricate, calculated, or grandiose as we all know the band to be.

I have no idea why this record gripped me so much. Jessica Pratt records are always a moody affair and Here In The Pitch is no exception. Like all her albums, it's produced extremely well. Not surprised that Pet Sounds was one of the influences, because this record feels as California to me as anything I've heard in recent memory, except I'd imagine slipping this into an 8-track in a car with no power steering in the 1970s and it would not feel out of place at all. It's haunting, ethereal and sparse in all of the best ways. It'll live with me for a really long time in ways I still won't be able to explain.

Review of „Amok“ by Atoms for Peace

⭐️⭐️⭐️⭐️⭐️

From the first pulsing notes of „Before Your Very Eyes…“ to the fading echoes of „Amok,“ this album is a hypnotic masterpiece. Atoms for Peace, a supergroup featuring Thom Yorke, Flea, and Nigel Godrich, crafts an intricate soundscape that feels both futuristic and deeply human.

„Before Your Very Eyes…“ sets the tone with its layered rhythms and Yorke’s haunting falsetto, pulling you into a world of fragmented beauty. Each track flows seamlessly, with highlights like „Ingenue,“ where delicate beats and shimmering synths perfectly complement Yorke’s ethereal voice. Flea’s basslines shine on songs like „Dropped,“ adding a groove that grounds the album’s abstract elements.

The title track „Amok“ closes the… More

first of all, thank you @hinderson

fantastic compilation, and for a great cause. so well put together with all the covers and collabs.

andre 3k track is a miss though. but the moses sumney and anohni cover of sophie's is it cold in the water? more than makes up for that.

Hay momentos en los que uno debe poner el oído y dejar a un lado las ideas preconcebidas para reconocer las cosas, y este es uno de ellos: Carolina Durante se han marcado un discarral impresionante y punto.

Sin ser para nada fan de la banda, a la que siempre he catalogado como “típicamente madrileña” en el peor de los sentidos (el de creerse el ombligo de la escena independiente) me he acercado por insistencia a Elige tu Propia Aventura esperando encontrarme otra colección de canciones autorreferenciales con algún toque de humor puntual como suele ser marca de la casa.

Nada más lejos de la realidad, en este álbum los Carolina demuestran ya desde el primer corte, Joderse la Vida… More

wacced out murals > squabbled up > luther is the greatest three-song run of the year
and hey now > reincarnated > tv off is a close second

Bangers front to back.

what the fuck im never gonna shut up about this

Weirdly one of those records that ages better with time. I recall when they won a Grammy, lots of dorks said this wasn't a rock album but they were wrong then & wrong now.

king of the mischievous south ii
and it's
completely
different but
also still
king of the mischievous south ii

(re-released with STILL IN THE PAINT)

Personalmente este album es uno de mis favoritos, sobre todo por su elementos electrónicos marcados en sincretismo con la sonoridad de la voz de Juana, retratando una visión onírica de sus composiciones

A Timeless Gem: Double Image by Monday Michiru

Double Image by Monday Michiru is a stunning blend of jazz, soul, and experimental sounds that feels as fresh and vibrant today as it did upon its release. The album showcases Michiru’s incredible versatility, weaving intricate rhythms with her soulful, expressive voice. Every track offers something unique, from sultry jazz numbers to adventurous genre-blurring experiments, creating an album that’s both cohesive and constantly surprising.

This album holds a special place in my heart, not just for its remarkable music, but for how it entered my life. Over 20 years ago, I “borrowed” a Japan Import copy from a roommate who had accidentally left it behind when he moved out. Reconnecting… More

Violator (1990) by Depeche Mode is a landmark album in electronic music, blending dark, introspective themes with irresistible, anthemic melodies. It showcases the band’s evolution from their earlier, more minimalistic work into a refined, dynamic sound that would define the ’90s. The album’s standout track, “Enjoy the Silence,” remains a timeless classic, not only for its hauntingly beautiful melody but also for its extraordinary music video. Filmed on the roof of one of the World Trade Center towers, the video perfectly encapsulates the song’s theme of isolation and longing, making it a memorable visual experience that complements the track’s atmospheric production.

The album also features other iconic tracks like “Personal Jesus” and “Policy of Truth,” each… More