Wand - "Perfume"

Wand are a Psychedelic Rock band that formed in the early 2010's in California.  This band has ties to a lot of the current greats in the genre, like Ty Segall and Mikal Cronin.  So obviously, I was absolutely interested in checking out their stuff.  But I couldn't shake the feeling that I was missing something with their 2014 debut "Ganglion Reef".  This album sounded just fine, with Wand pulling from a lot of different current sounds.  Elements of bands like Tame Impala showed up, and Wand absolutely wore their influences on their sleeves.  Which wasn't a bad thing, but I came away from this album almost completely unfazed. However, with 2015's "Golem", I really felt like Wand were coming into their own.  No longer here did they sound like they were ripping off their contemporaries entirely, now they sounded like they could easily open for them.  Tracks like "Cave In" were muscular Garage jams with great production, while tracks like "Flesh Tour" and "Floating Head" showed Wand at their freakiest.  This may have not been a perfect album, but Wand were now officially on my radar in a big way.  But Wand got right back off my radar with 2015's "1000 Days".  This album may have been Wand at their campiest and most weird, but once again they sounded like they were desperately aiming to sound like their contemporaries, in the least flattering way.  No joke, this album sounds EXACTLY like a Ty Segall album from 2015, but way less ambitious.  Now, I actually think Wand's 2017 album "Plum" is one of their more interesting releases.  This album wasn't perfect, but it was super ambitious.  There were seemingly endless genres and subgenres on display here, and they all sounded fresh.  This time around, Wand weren't copying anyone, they were actually leading the pack. Wand are back with a new album which I'm actually super curious to check out, because these singles have actually been on the more ambitious side.  Let's talk about it!

“Perfume” was simply put, not the intro I was expecting to hear.  This track is wild right from the get-go, and I can’t remember the last time I heard the band playing with this much intensity.  Sure, as far as vocals go I still feel like Wan may be leeching off their contemporaries a little bit.  But the remainder of this track is surprisingly ambitious and just plain wild. I love just how twisted Cory Hanson comes off on vocals, he sounds truly dangerous.  And then we have this tracks length.  At a whopping 7 and a half minutes, it’s certainly one of the longer ones in the bands catalogue.  But that doesn’t take anything away from this, and the band seem comfortable with it.  There are some hypnotic drone moments, and some seriously intense drums in the middle as well.  Even the later, almost completely instrumental moments here just show how comfortable and adventurous the band has gotten.  I don’t know where this was years ago, but it’s great.  “Town Meeting” instantly winds things down to a much slower pace,, which is very abrupt considering just how wild that last track was.  But before you even have time to register with that, this one picks up and goes right back to being just as frantic and twisted.   The dueling vocals here actually make for this very surreal and genuinely psychedelic effect that’s really cool.  Now, while I think the intro came off a little bit more focused, I still feel like I’ve never heard the band so wild and ambitious.  They come off so tightly wound here and seriously manic, it’s pretty freaky.  But it leads to some very memorable vocals to say the least, and I still love just how much Wand are pushing themselves.  On the other hand, “The Gift” is just shimmering and interesting enough to instantly catchy my attention.   This one isn’t nearly as upbeat and wild, but it has this genuine sense of mystery to it that I absolutely love.  The vocals come off so mystic, and the instrumental here is just so vast and complex.  But it’s also so warm and inviting.  There are plenty of usual instrumentals for Psych and Garage Rock, but there’s also tons of interesting percussion and stellar production.  Like, this is just so much more ambitious than anything they’ve touched in the past.  But my only one complaint about this EP comes in the form of “Hiss”.  I hear a track like this and it just makes me grumpy.  My friends, the art of the interlude is lost.
On the other hand “Pure Romance” is another very sweet, stripped down Folk Rock tune with some very psychedelic elements.  Man, I can’t remember the last time I heard Cory so emotional.  In general, this track is just so heartfelt.  Not to mention, boy howdy is this production a pleasure on the ears.  It’s not nearly as faceless, it actually gives Wand a nice pop to their sound.  Plus, this chorus is just so grand and explosive, I’m very impressed.  The very whimsical vibe to this EP continues with some very skillful guitar solos and a very cluttered feel.  But when things pick up it just gets really exciting, really fast.  I sort of miss the vocals on this one, and I feel like they would have only added to it.  But for a much more fleshed out and wild interlude, this works.  Now, a major selling point of this EP is just how consistent it is.  I mean, this 28 minute EP rolls on smoothly, with just a 50 second bump with that interlude.  Once again, this one is a little stripped down.  But the instrumentals here are just as classy.  This one takes an almost classical approach to the genres they’re toying with, taking from Psych Rock bands of the early 70’s.  But like I said, it comes off very progressive and super classy.  I love the lead and backing vocals, and this does nothing but excite me for Wand’s future.  For a short EP, I can’t remember the band ever sounding this consistent. 

Rating: 7.7/10

Genre: Psychedelic Rock / Garage Rock

Overall Thoughts:  While this is the shortest release from Wand, it's by far their most consistent.  I would say that I can't remember the last time I heard the band playing with this much energy and enthusiasm, and were going for such a progressive sound.  But the fact is, they've never sounded this good.  The band has made a long career of sounding just good enough to open for one of Garage Rock's finest, but here they make the argument that they are one of Garage Rock's finest.  There are blazingly fast Psych Rock odysseys here, as well as stripped down Psych Folk ballads that would make their contemporaries blush. I just hope they continue to sound this consistent.   

A$AP Rocky - “TESTING”

A$AP Rocky I got into probably around the same time as a lot of others.  In the early 2010's he was seemingly everywhere with multiple well-reviewed mixtapes and singles.  But it was with 2013's "Long. Live. ASAP" that A$AP really blew my damn mind for the first time.  Rocky quickly brought himself to the front of the line of Cloud Rappers with seemingly endless confidence, swagger, all over murky beats and incredible production.  This album for me had it all: club bangers like "Wild for the Night", a brilliant posse cut in the form of "1 Train", and even irresistible crossover tracks like "Fuckin' Problems".  But Rocky took a seriously bizarre turn with 2015's "At. Long. Last. ASAP".  Here, he let this whole Cloud Rap vibe completely enfold him, resulting in this very dark, Psychedelic album.  I mean, when it was on, it was pretty cool. Like, "Holy Ghost" is absolutely awesome, and the album had an absolutely chilling aesthetic.  But the song quality was so much more hit and miss here.  To me, it just seemed unfocused.  Rocky's stayed busy in the years since with fashion and his dreadful "Cozy Tapes" projects with A$AP Mob.  But this is the first time we've had solo Rocky material in some time, and I can't wait to chat about it.

This album starts off with “Distorted Records”, and yes right off the bat it certainly sounds like an A$AP Rocky track.  It’s got gigantic bass and some artsy flair that he was showing off on his last album.  This one does pick up nicely though, almost into a sort of Experimental Rap tune.  It’s surprisingly noisy and aggressive as far as the beat goes.  But it works for Rocky, and he just sounds refreshed and energetic as ever.  Now, I do have to say though this much more left-field approach to Rocky’s music is pretty different than what we’ve been used to so far, and it’s new for him too.  Which to an extent, you can tell, because there is a few moments here where it sounds like he’s still getting used to this sound.  But still, this is a solid intro.  On the other hand, “A$AP Forever” does some really amazing things for Rocky.  T.I. has just such a cool voice and is such a good narrator, so he instantly fits.  Here, Rocky doesn’t sound shake on this sound, he sounds like a pro.  I love just how hazy this beat is, and overall I feel like this track is just such a great medium for A$AP.  And his performance here is just so youthful and wildly energetic, and most importantly exciting.  And Kid Cudi on the hook sounds like his usual, smooth self.  For a few short minutes, Rocky doesn’t sound like a follower of this sound, he sounds like a pioneer of it.  And that beat switch-up is absolutely nuts, leading to some beautiful moments to say the least. Then we have “Tony Tone”, which sadly shows just how clueless Rocky still is when it comes to this sound.  His verses here, if you want to call them that, are absolutely a low point of the album.  I’m down for some mindless fun any day of the week.  But here, Rocky sound just plain goofy.  Thankfully, this one has a banging beat to keep my attention.  But outside of that this is way too mindless for me.  Rocky’s made a career on this cloudy, laid-back rap.  But there comes a time where it’s just way too much.  Now, “Fukk Sleep” featuring FKA Twigs on the other hand actually has some cool ideas to it.  Twigs always has such a way of making the most normal tracks haunting, and that’s exactly what she’s up to here.  Here, at the very least Rocky comes off as charismatic and energetic.  And sure, this track is once again super hazy and dreamy.  But here it comes off as an interesting alternative to what’s going on in Rap right now.  Plus, Twigs alongside of making this track much more haunting, gives this track an artsy feel that I can’t deny at all.  Even her verse comes off otherworldly.  This whole track is just so chilly and intriguing, and a really interesting path for Rocky.  Meanwhile, the beat on ““Praise the Lord (Da Shine)” is a real shot out of left field.  It’s so much more playful and not nearly as dripping in effects.  But without all the dreaminess, the cloudy beats and all that, this just comes off like any other faceless MC sadly.  Skepta doesn’t sound terrible here, he’s a talented dude and all.  But I just can’t shake the feeling that this one is just too generic for me.  In an album that so far has been nothing but Rocky trying to expand his sound, this does the exact opposite. 

https://www.youtube.com/watch?v=BNzc6hG3yN4

Then we have “CALLDROPS” featuring the one and freakin’ only Kodak Black.  On the other hand, this track has all of the exact opposite problems as other tracks.  Here, Rocky goes overboard trying to be artsy.  And the result is just laughable and bizarre, and 2-minutes of wasted time.  Who OK’d this interlude?  And FUCK Kodak Black.  Thankfully, the synth beat blasting off on “Buck Shots” is just so energetic and interesting.  It’s different for Rocky, even though it does keep that very syrupy atmosphere.  It’s just so intense and upbeat, it’s in moments like this that Rock comes off at his most confident.  Not to mention, it’s one of the shortest tracks here, proving we don’t need a 6-minute odyssey.  Then we have “Guns N Butter”, a Flour Rap banger that sounds like it would have landed nicely on one of his early releases.  His very sleepy verse here comes off just as tasteful as you would expect, and I can’t help but get hyped up listening to Rocky’s verse.  Not to mention, Juicy J when he does it right, can be an awesome hype man.  And here, he’s on point.  Not to mention, some of Rocky’s lines are surprisingly current and refreshing.  All around, this may not be the artsy vibe that he’s been going for, but it works.  But then we get the massive curveball of “Brotha Man”, which is a depressive and gloomy track that’s pretty deep for this album.  It’s once again, something very different for Rocky.  It’s refreshing to hear some emotion, and the very lavish production here is fantastic.  Like, I mean there are some seriously elegant moments here between these very sweet harmonies and this breezy beat.  All around, “Brotha Man’ is a refreshing tune and a great sound for Rocky.  But with every track like that, we get a track like “OG Beeper” which makes me question if Rocky is really all in on this new sound.  There’s no reason why he shouldn’t be, he’s proven that he can do some interesting stuff.  But this track is so generic that it comes off like practically a cover.  There’s nothing about this one that tells me this is an A$AP Rocky tune even.  Not to mention, this beat is such a shallow attempt to make an “artsy” beat.  This one at the end of the day, just confuses me. 

https://www.youtube.com/watch?v=QYbWAgF02no

“The Kids Turned Out Fine” on the other hand is a little bit more in the right direction.  I do like how twisted this one is, the way it constantly sounds like it’s this much more cheery tune that’s constantly melting.  Rocky sounds solid on his verse, and comes off so much more energetic than usual considering just how dreary this track is.  It’s interesting, but I just wish Rocky would take this sound and take it so much further.  A lot of these tracks have such a cool aesthetic and begin to get some great ideas flowing.  But they also end before anything truly ballsy and left-field comes along.  But tracks like “Hun43rd” featuring Dev Hynes make me want to eat those words completely.  This once again, has that very dreary, Psychedelic vibe, much more than most of the tracks here.  Trust me, this is one Psychedelic Rap tune, but it comes off brilliantly because of just how focused Rocky sounds.  He honestly sounds right at home on this beat.  And Dev Hynes of Blood Orange sounds absolutely incredible in this atmosphere.  You see, here this is obviously an A$AP Rocky tune, between the cloudy beat and the chopped and screwed vocals.  But this is taken so much further, is seriously creative, and one hell of a track.  But for every genuinely good idea, I feel like Rocky comes back with one that’s equally half-baked and unfinished.  “Changes” is the latter.  This is literally Rocky’s attempt at a Psych Rock ballad, and it’s beyond awkward.  It almost sounds like what Miguel mastered on his “Wildheart” album.  But with Rocky, it just sounds like something he’s sort of curious in, not something he’s going to commit to.  “Changes” is very sloppy.  The beat that eventually rolls in is alright, and the last 2 minutes or so is much better than the last few.  But sadly it’s just too late, Rocky comes off dreadfully unfocused.  There are so many good ideas floating around here, snippets of them at least.  But Rocky doesn’t seem like he’s ready to fully commit to any of them.  And “Black Tux, White Collar” isn’t that much better.  The highs to this album are wildly high, and may just be Rocky’s best tracks in years.  But then I hear this and it’s unbearable and obnoxious.  This is a totally different animal, with Rocky once again sounding faceless.  It’s so bland, that Rocky ends up coming off like a rapper trying to rip off his own style from 6 years ago.  And guess what, it absolutely sucks.  Thankfully, A$AP ends off this album with “Purity” which is a genuinely experimental track in all of the best ways.  It’s just as psychedelic, but it’s strangely beautiful in parts.  And yes, it’s made even more beautiful by Frank Ocean’s contributions.  Meanwhile, I’ve never even like Frank’s Rap verses, but here he sounds at home.  In general, this track is another really great medium for Rocky.  It’s interesting and left-field., but it’s also much more focused than anything here.  Rocky doesn’t just have an idea here.  He takes that idea, starts it, runs with it, and finished it too.  Not to mention, while some tracks here have just been sort of shallow attempts at being experimental, this one is genuinely weird.  

Rating: 7.1/10

Give A Listen To: “A$AP Forever”, “Brotha Man”, “Hun43rd”, "Purity"

Least Favorite Track: “CALLDROPS”

Genre:  Art Rap / Cloud Rap / Rap / Experimental Rap

Overall Thoughts: A$AP Rocky returns after a few years with his most genuinely strange album to date, with mixed results.  When this album is on, it has some of the most refreshing A$AP Rocky tunes since his debut mixtape.  He's working with new production, new collaborators, and new beats that have him pushing out into some pretty experimental waters, which I like a lot.  Or at the very least, it sounds good on paper.  Because while this album has ridiculously good high points, when it's off Rocky sounds more awkward than anything.  There are numerous tunes here that have Rocky sounding like a fish out of water in the Art Rap/Experimental Rap game.  And some of these tunes are hilariously unfocused, with Rocky starting an idea with no hope of finishing them.  Like I said though, when this album is good, it's great, and I just really want to hear Rocky focus and return to this sound with a more cohesive album.  

Pusha T - "DAYTONA"

Pusha T for years now has been stunning modern Hip Hop fans with his crushing deliveries and unbelievable energy. Whether it be in legendary duo Clipse or on his own, whenever I see Pusha releasing something I know it's usually pretty solid.  With 2013's "My Name Is My Name", Pusha proved he was more than just a Mixtape rapper with a slick set of tunes.  Tracks like the confident "King Push" and "Numbers on the Boards" reminded us just how gifted Push really was.  But tracks like the epic "Hold On" showed that he had so much more to give us still, and was pushing out into different sounds by the day. Pusha returned in 2015 with his very short "Darkest Before Dawn: The Prelude".  While it was only 33 minutes, however, I do really think this was a very solid release.  The production was just so dark and murky, and better than anything he'd ever touched.  It had some decent features and Pusha sounded hungry as ever.  But this album really got me hungry for more.  More than anything, I just wanted to hear another Pusha T album in full.  And he's certainly made us wait hasn't he.  Pusha is back with a brand new, short, sweet, album, let's chat about it

This short and sweet album starts off with “If You Know You Know”.  And for starts, Pusha is absolutely not letting a second go, and and sounds refreshed and ready to kill.  He sounds so focused, and by the time this icy cold beat drops, I’m floored.  Pusha has this uncanny ability to always come across like he’s on a mission and being laser focused, making for an almost consistently confident sound.  Add that with this absolutely wild beat and incredible production, you’ve got me hooked.  His wordplay is clever, I would swear his flow is better than ever, and his lines are driving me nuts.  This is one hell of an intro.  Then we have the much more sleazy “The Games We Play”, which has this very soulful beat.  Pusha however, hasn’t changed a bit.  He sounds just as confident and dropping great reference after the next.  I can’t even get my head around this beat though, which samples this bluesy guitar and soulful horn so well.  And even though this is so much more laid back Pusha absolutely comes off relentless.  For a guy whose getting up there, he has incredible energy, which yes, may be the cocaine, but that’s for a different debate.  It’s exhausting to hear Pusha go this hard, but it’s the most hyped I’ve been listening to any Rap this year.  As this album rolls on, I have to say some of the beats and the production are just as brilliant as Push himself.  “Hard Piano” is just so much more current and cutting than some of the other tracks, blasting everyone from Harvey Weinstein to Matt Lauer.  All of that matched up with this very classy, yet gloomy beat, and you have one wild track.  The vocal snipped for a chorus is also seriously nice, and Rick Ross sounds right at home on this beat.  ”Hard Piano” is classy, but it also hits hard, it’s freakin’ great man.  But the time we get to “Come Back Baby”, I literally can’t be mad with this production at all.  I feel like every beat and instrumental just has so much personality.  Then of course, we have Pusha here who’s at his most chilling and vicious.  It’s broken up very nicely by this big sing-a-long chorus.  It works fantastically though.  Now, lyrically if you’re not into Pusha’s usual onslaught, this is all gravy.  And my GOD, some of this man’s wordplay is unreal.  I mean, did you hear that?  He called himself Rich Flair.  Genius. 

https://www.youtube.com/watch?v=j98tczxXKtE

Then we have “Santeria” which is almost a Psychedelic jam.  It has this beat built around guitar licks, but it works.  Now, if there’s one track I’m not telling everyone about here, it’s this one.  But trust me, this is far from bad.  It’s just as confident and cutting.  But for me, of all of the short tunes here, this one seems to have the most unfinished business.  I can’t help but feel listening here that this is a little bit rushed.  But Pusha is such a damn pro that he makes even his weakest moments have a snap to them.  Not to mention, some of the imagery on this track is insane.  Then we have “What Would Meek Do?” featuring friend of the world Kanye West.  Like, how freakin’ talented is Pusha?  This guy seriously has enough technique for 4 MC’s on this track.  After the last few mellow tunes, I love hearing just how intense and aggressive this one is.  Not to mention, I continue to absolutely love some of the imagery.  And while *Ahem* “SCOOPITY POOP” will grate on my nerves until the day I die, Kanye’s verse once it gets going is actually really refreshing to hear from him.  Energy, charisma, a killer instinct, whatever you’re into in Rap, it’s here.  Then we have the haunting and controversial “Infrared”.  Pusha here is at his most political and cryptic, but like I said it’s also surprisingly haunting.  Then, of course, we have all of the undertones that may or may not be aimed directly at Drake (which spoiler alert, it is).  This one is just the cutting and gritty finale I needed.  King Push is not for the weak of heart. 

Rating: 8.5/10

Give A Listen To: "If You Know You Know", "The Games We Play", "Come Back Baby", "What Would Meek Do?"

Least Favorite Track:"Santeria" (If I had to choose one, it's not a terrible tune).

Genre: Hardcore Hip-Hop

Overall Thoughts:  Pusha T with his latest album tries out a daring yet obvious new strategy.  That strategy my friends, is coming out with an album where literally all of the material is good, can someone tell J Cole this strategy?  It may be only a few minutes more than most EP's nowadays, but with Pusha's lack of time, he finds a focus I haven't heard from him in years.  His performances here are killer, is wordplay has never been more on point, and he hasn't sounded this charismatic in years.  Wrap this all together with some classy beats and some of Kanye's best production in years, and I really don't have anything bad to say about this at all.  I mean yea, I wish it was a little bit longer, but that's nitpicking at this point.  Case and point, I haven't been this excited about a Rap project all year. 

Kanye West's DIscography - Ranked

Love him.  Hate him.  Worship him.  Puzzled by him.  You know who the hell Kanye West is. Today we're ranking his discography.  You're going to disagree with a lot of it, fair warning.  Spoiler alert, I may have been a fan of "The Old Kanye" in my teens, but I'm not nearly as much of a fan in hindsight.  Also keep in mind, I love all of these albums no matter what.  Without further ado, let's chat about Kanye's discography, remember this is all personal preference! 

7. Late Registration - In a lot of ways I have mostly the same thoughts on this album as Kanye's debut "The College Dropout".  We're dealing with gargantuan singles like "Gold Digger" and "Touch The Sky", fantastic features, and an overall polished sound that for the early 2000's was just what I wanted to hear.  But I listen to it these days occasionally and all I can think of is how held back Kanye sounds in parts.  I feel like so much of this album, he doesn't really know just how far he can take his sound.  Not to mention, it's a little long-winded at times.  However, there's nothing truly wrong with this album and it absolutely deserves the acclaim it's gotten.

https://www.youtube.com/watch?v=YkwQbuAGLj4

6. The College Dropout - The album that started it all.  It's an album that when I was in my teens I was absolutely chomping at the bit to hear.  Hell, I still remember the first time I sat down and heard "Through the Wire".  It's a solid album with some very crisp production, and has some great features.  And for the time, yea that's what I wanted to hear from him.  But in hindsight I am just so much more of a fan of his later, more adventurous work.  But hey, that's just me, there's certainly nothing wrong with this album.

https://www.youtube.com/watch?v=QpF_df5xpOI

5. Yeezus - If you haven't figured it out, Kanye loves reinventing himself.  Here, he ditched the glamorous production and solid features for an abrasive Industrial Hip-Hop album.  Now, you can argue until the cows come home on whether or not this album is more than anything a shallow attempt to sound edgy.  Which if you feel that way, trust me I get it.  But you can't deny that when this album is on, it's ON.  Whether it be the intensity of "On Sight", the hazy goodness of "Hold My Liquor", or "Blood On The Leaves" which is literally one of the best Kanye songs of ANY of his phases.  It's an intense listen that's a go-to on any work out playlist.

https://www.youtube.com/watch?v=nn0Pu2Qun-E

4. 808's & Heartbreak - 2008's "808s & Heartbreak" is one of the most radical departures in recent memory.  Tormented by his mother's death and other events, Kanye released a truly heartbreaking Synth Pop album.  There is almost no Rap or Hip-Hop influences to be found here (outside of the features), and in return we get minimal beats and Kanye mostly singing.  It's a sucker punch of an album, and something no one could have expected.  But it's also incredibly emotional and depressive, and reminds us for about an hour that Kanye is just as human as all of us deep down.  The guest spots were minimal, but powerful.  With topics such as depression, death, loneliness and fame, this was a surprisingly visceral album, one that's criminally underrated.  It's an album that you can chat about for hours, and it's impact is still being felt today.  Love it or hate it, this album marked the death of "The Old Kanye".

https://www.youtube.com/watch?v=Co0tTeuUVhU

3. The Life of Pablo - Oh boy, I'm sure I lost a good chunk of readers with this one.  But I stand by my word, "The Life Of Pablo" is the album that I've listened to the most the last year or so.  It's certainly not the life altering experience that Kanye meant it to be.  But I can't help myself from continuously coming back to it, puzzling over "Freestyle 4", discussing the imagery on "Wolves", talking about how incredibly stunning "Ultralight Beam" is, and more.  The months leading up to this album's release were bizarre.  Kanye's fashion shows are still one of the oddest things I've ever laid eyes on, and call me nuts but I still think "Swish" would have been the perfect album title for this.  All of the confusion that lead up to this album, even up to the final hours where Kanye was STILL changing the track list, changing the artwork, changing the features really made me fear for the product Kanye fans were about to receive.  "The Life Of Pablo" though, as bizarre as it is, at the end of the day is quite the spectacle.  You're going to hear everything on here from club bangers, to gorgeous semi-ballads, all with Kanye's trademark ego and creative genius butting heads.  Half of the time, this album is completely cracked out, I still burst out laughing every time the "Ghetto Oprah" skit pops up.   Other time's, it's oddly beautiful and sincere.  One things for sure, this is an album that's going to keep you coming back.  I feel like every time I got even the slightest bit tired of this album, something about it ended drawing me back and I would end falling in love all over again. 

https://www.youtube.com/watch?v=LsA84bXrBZw

2. Graduation - With Kanye's 2007 "Graduation", he created his first real masterpiece.  Colorful blends of aggressive tracks like "Can't Tell Me Nothing" and more anthemic tracks like "Good Morning" and "Champion".  The production on this album was incredible, and for the first time I actually felt like I was in the presence of an absolute genius.  But it was around this time that Kanye went through some major changes.  No more was the Polo wearing sweetheart we'd met years ago.  Kanye was a damn artist now, one whose ego and truly incredible songs were growing by the second.

https://www.youtube.com/watch?v=6CHs4x2uqcQ

1. My Beautiful Dark Twisted Fantasy -  If "808's" wasn't your cup of tea, 2010 had something special for you.  Oh what's that you ask?  Well it's only the most pristine, adventurous, over-the-top and remarkable Rap album of the decade.  Some call it 2010's "My Beautiful Dark Twisted Fantasy".  The title says it all, it's Kanye at his most egotistical and completely bonkers, but it's also incredibly well written and fearless.  On top of that, this is one of the most well produced album's you're ever going to hear, of any genre, quote me on it.  Between massive hits like "POWER" and "All Of The Lights", and hidden gems like "Gorgeous" and "So Appalled" this album has something for everyone.  Also, the guest spots here are gigantic.  Raekwon absolutely steals the show on "Gorgeous", Nicki Minaj sounds out of control on "Monster", Rick Ross drops his greatest performance probably ever on "Devil In A New Dress", and Bon Iver gives this album the human touch it needed on "Lost In The World".  Needless to say, this is my favorite Kanye album, and an album that in every way changed how I listen to Rap.

https://www.youtube.com/watch?v=-LHdiKzAs6k

CHVRCHES - "Love Is Dead"

CHVRCHES is a Scottish Indie Pop and Synthpop band who have been at it since the early 2010's.  When it comes to their 2013 debut, I'll be honest, I enjoy it probably just as much as the next guy.  Some of the singles are Synth Pop anthems, like "We Sink" and "Gun".  Some of the more Indie-Pop tracks were a little underwhelming, as well as any track that wasn't sung by Lauren Mayberry.  But it was the bigger and grander tracks like "Night Sky" that ended up sticking with me the most. CHVRCHES returned in 2016 with "Every Open Eye".  Their sound, for the most part, was the same, but it did seemingly get closer and closer to a mainstream dance sound with each passing moment.  Which isn't necessarily bad, it lead to great crossover tracks like "Clearest Blue".  But I still had a lot of the same issues as the debut, especially in the case of tracks that didn't have Lauren Mayberry at the helm.  So after a few years, CHVRCHES are back.  But it does seem like the band is pushing more towards a Pop sound than ever, which no isn't really that good.  These singles are all over the place.  Let's chat about this new album.

This album starts off with “Graffiti”, and it’s certainly a very sunny intro, with blaring synths and a decent beat and all.  And to be honest, it’s really not that bad of a track at all.  It’s well written and explosive, and this chorus is just gigantic.  Lauren sounds confident on vocals, for a sort of crossover track this really isn’t bad at all.  Because let’s be honest, at the end of the day this is certainly much more along the lines of a Pop tune than anything.  But it’s sweet and youthful, and CHVRCHES seem comfortable to say the least.  Even if this sounds like an actual Paramore cover, I think it works as an intro.   Then we have “Get Out”, and the production on this one does sound great.  I love just how bulky these synths are.  But this my friends, is the start of the downfall.  Remember when I said that intro sounded a little too much like a cover?  Well, this track sounds even more like a cover, in the worst way.  This just seems so inorganic to me.  Lauren sounds like a robot, having no passion or emotion to give if her life depended on it.  Not to mention, the songwriting here has taken an absolute nosedive.  Oh boy.  On  the other hand, “Deliverance” takes things in a much icier direction, as CHVRCHES begin to cling to that 80’s sound a lot of artists are going towards these days.  Now, I actually think the verses here are solid, but the chorus here while it’s catchy could have been so much more.  Not to mention, I hate to break it to these guys, but everyone from Paramore to Carly Rae Jepsen are doing this sound just so much more justice.  “Deliverance” is alright.  But where is that sense of urgency and the anthems that CHVRCHES were pushing out for years?  By the time we get to “My Enemy” that production is really pushing its luck.  This is the most modern track we’ve heard here yet.  But holy fuck, not even The National’s Matt Berninger can save this one.  I would be down for a catchy Synth Pop crossover, because they’ve proven plenty of times that they can do that.  But this is literally sucking the life right out of me as it rolls on.  It’s just so sluggish and robotic.  I don’t know where all of that fire went that CHVRCHES had years ago, because this album still sounds like a covers compilation.  And I don’t have a clue where the groups songwriting went, because it sure isn’t here.  Now, “Forever” actually sounds like a CHVRCHES track I would have gravitated towards years ago.  And to be honest, it may be the best song they’ve wrote in years.  I absolutely love how pulsating this one is and how triumphant it comes off.  Lauren’s vocals absolutely soar here, and I can’t remember the last time I heard the band playing with so much determination.  Even the songwriting here is a huge step up from what they’ve been giving us.  This is just a fun, intense Synth-Pop tune, which at this point is all I want to hear. 

But with “Never Say Die”, we’re well on our way back to a slower, more somber tune.  Oh joy.  Now, of all the singles here, this is probably the best of the bunch.  It’s at the very least sort of epic.  And while it’s almost the most repetitive here, it actually ends up coming off hypnotic.  It’s good and all, but it still lacks the urgency of many early CHVRCHES tunes. Then we have “Miracle”, and I don’t even know what to say anymore.  Like, there are some cool elements to these tracks, like those 80’s synths.  But the rest of this tracks sounds like an Imagine Dragons song.  That production which I really didn’t mind earlier is just so pristine to let in anything remotely edgy.  Some of the choruses here are catchy, but the majority of this one is just way too much for me.  If anyone could have made a crossover Synth Pop album, I feel like it could have easily been CHVRCHES.  But tracks like this, tell me otherwise.  With “Graves” CHVRCHES try to run back to the Synth-Pop sound they built up in the past.  But would you believe it, it’s just way too late.  These verses come off so awkward, like a Pop artist trying to desperately go for some Synth Pop.  Smell that/  That’s irony.  Now, I do have to commend CHVRCHES, because they can still write an absolute mammoth of a hook.  And trust me, the one on “Graves” may be the best of the album.  It’s a shame the rest of this one is absolute trash.  Now, I actually do like the sort of grim tone to “Heaven/Hell”, even if it is really just more of the same at this point.  Thankfully though, CHVRCHES have brought their A-game as far as songwriting goes.  This has a whole lot of the same anthemic qualities that their early material had which I loved.  But I can’t get past just how squeaky clean this instrumental is.  I hate that it has to be like that, it’s not a terrible track.  But this i just so far from a CHVRCHES track still.  With “God’s Plan” however, I get legitimately excited to hear a beat that I can really get into.  But all of a sudden we have Martin Doherty taking lead vocal duties.  And much like the early material where he would take the reigns, it’s boring beyond belief.  No matter how eccentric that beat gets, this one is just putting me to sleep.  The songwriting has hit an absolute low, and CHVRCHES don’t even seem like they are trying anymore.  Even when that beat just grows and becomes this massive creature, this track is nothing more than hot garbage. 
At this point in the album, the last thing I wanted to hear was a whisper quiet ballad.  But that’s exactly what I get with “Really Gone”.  This track isn’t as innocent and sweet as you would think, and certainly not as much as it wants you to believe.  It’s just completely void of any emotion and absurdly bland.  Then we get “ii”, and at this point give me a one minute instrumental, it’s not like we need content.  Ironically it’s not even that bad of an interlude, and for one minute of an instrumental, I would swear there’s more emotion here than for what passes for an “anthem” on this album.  But all of it is washed away in seconds with this absolutely dismal Synth-Pop finale in “Wonderland”.  If they’re trying to be all quaint and cute, first off you’re way too late.  Second of all, I can count numerous bands that are doing this sound just so much more justice.  Once again, CHVRCHES can write a hook and really make it pop. But literally, everything else about this track is a mess.  From the generic beat that sounds like it was ripped out of Sonic Adventure to the verses that go nowhere, it’s a mess I tell ya. 

Rating: 5.8/10

Give A Listen To: “Graffiti”,  “Forever”, “Heaven/Hell”, That's literally it

Least Favorite Track: "My Enemy"

Genre: Synth Pop /  Indie Pop

Overall Thoughts:  CHVRCHES ever since their debut album, have seemed to slowly go fall from grace in a big way, and trust me this is far from the exception.  The band seems like a shell of their former selves.  At one point, they wrote anthems that demanded listening immediately, but the material on here seems like CHVRCHES aren't even too sure of what they're doing anymore.  From sounding like a cover band to giving faceless, emotionless ballads, this album is a mess.  All I can say is, thank God CHVRCHES can still write a catchy chorus that will stick with you, because if they couldn't this may have been the biggest snoozefest of the year.  

Sudan Archives - "Sink EP"

Sudan Archives is a project right off of the legendary Stones Throw Record Label.  Fusing elements of Jazz, Folk, World Music, Hip-Hop and more, this seemed like a project I would go nuts over.  The first time I heard Sudan Archives was on her self-titled 2017 EP.  Now, as expected, the production here was immaculate, and the beats were seriously great.  But I just felt like her vocal performances weren't nearly as colorful or as eccentric as any of the production here.  Sudan Archives is back with a new project, and from the sound of these singles, it seems like she's going for a more vibrant sound which I'm totally interested in.  Let's chat about it.

This EP starts off with "Sink".  For one, the very silky, smooth production that starts this one off is absolutely lovely.  It's got enough of a pop to it to remain catchy, but this quickly dissolves into the wild, colorful material that I wanted to hear from Sudan Archives.  Gone is that, "ready-made for Urban Outfitters" sound, and it's replaced with some truly out there and experimental R&B.  The beats are big, and I love how soulful the vocals are here.  This one is actually really mind-bending all around, to the point where Sudan Archives sound like she can very easily go toe to toe with some of her contemporaries. And she just has so much swagger here, it's actually pretty nuts.  I do have to say though, it's also inviting for such a dense sound.  On the other hand "Nont For Sale" brings in some of the folk elements in those plucked Violins.  But I think it actually adds a good amount of tension here.  And don't even get me started on her performance here, it's just so confident and poetic.  This one creeps along blending all sorts of genres that are tough to pinpoint.  Also, that sort of glitchy production is literally just enough.  Hearing her early work compared to this is just so refreshing.  Hell, in her almost Rap verse she almost comes off like a young M.I.A.  "Nont For Sale" is a seriously ear-grabbing tune that's nothing but a joy to listen to. On the other hand, "Pay Attention" is a little more stripped down and straightforward.  And not only in an instrumental way, this track all around is just so much more digestible.  And sadly, it's not as interesting.  I think some of the focus on the World Music aspect of Sudan Archives is really cool, and I love how chilly and interesting the chorus is.  But overall this is a fraction of how groundbreaking everything else has been so far.  

Now, when it comes to "Mind Control" I immediately have to commend the production.  Because these beats my friends are seriously mind-melting.  But in cases like this track, I just really wish Sudan Archives' performances matched the colorful beat and production because they certainly were to start this EP off.  But no, this doesn't come off nearly as interesting or groundbreaking.  No, this honestly sounds like a cover, and it's OK at best.   With "Beautiful Mistake", once again I do like the creeping atmosphere of this one and just how unnerving everything is.  And once again, this track is actually packed with attitude.  But while I'm more into her performance on this one, the production here is much more flimsy and not nearly what I was expecting.  Everything so far has been so massive and colorful, this just takes me back to the sound of her debut EP, where I thought things sounded a little shallow.  It's not terrible though.  This EP ends off with "Escape", and I have to say I do think the violin playing really adds so much character to the music of Sudan Archives.  It really takes the experimental sound she's going for and makes it even stand out further.  I love just how quiet this one starts off and just how soulful she sounds on vocals.  It's so quiet and tense that when that very abstract beat booms in and all of those World instrumentals as well, this becomes a real stunning moment.  Compared to the very safe last few tracks, this is next level.  "Escape" gets me instantly excited for whatever Sudan Archives has planned for the future. 

Rating: 7.2/10

Genre: Art Pop / Alternative R&B / Experimental Pop 

Overall Thoughts:  This is a BIG step up for Sudan Archives.  This project has gone from being tailor-made for Urban Outfitters to doing some legitimately experimental things. Obviously, this is a Stones Throw project so you know the production is airtight, and between the World Music influences and the heavy use of Violin Sudan Archives absolutely stand out.  I just feel like this project needs to find a proper medium between the colorful production and the vocals here, which occasionally are overshadowed.  

John Maus - "Addendum"

If you're into Low-Fi Pop, Experimental Pop, Outsider music, or as the youngin's call it these days, the ol' Hypnagogic Pop, then you know exactly who John Maus is.  He's been at it for over 10 years now, he's been compared to Ariel Pink, and his music more times than not is seriously hit or miss.  Take for example his 2006 debut "Songs".  This is by no means a terrible album, with tracks like "Maniac" and "Just Wait Til Next Year" showing off just how much a real twisted character John was.  The music here was often rough around the edges, and John often walked a very thin line between madman and Pop genius.  But when this album was bad, trust me it was terrible.  Tracks like "Real Bad Job" and "Less Talk More Action" were more strange than anything, and not in a good way.  Plus, John's contemporaries at the time just seemed to be on another level completely. A lot of the same positives and negatives remained with John's follow-up, "Love Is Real".  This album had a really cool aesthetic to it, really grabbing from a lot of 80's influences which I was totally into.  But John's songwriting was average at best, and absolutely nothing about this album made me pick this over any of John's contemporaries.  However, with John's 2011 album "We Must Become the Pitiless Censors of Ourselves", he got on track in a gigantic way.  The production here was so much cleaner, and John's sound, while he was still an outsider in every way, seemed so much more accessible.  But almost nothing was lost in the transition.  John's songwriting was loads better here as well, and he just seemed like he was no longer writing snippets of songs.  Tracks like the unbearably charming "Hey Moon" and the intense "Cop Killer", John seemed like he made several leaps with this album.  Maus returned 6 years later with 2017's "Screen Memories".  This was another whimsical, bizarre album.  I wouldn't say it was as memorable as his previous work, but it still has so many great moments.  Like the surprisingly intense "Find Out" and the Gothic-tinged "Edge of Forever".  Once again, it's a strange one, but Maus certainly makes it work.

This album starts off with “Outer Space”, and it’s a very smooth intro with a surprising amount of sound play, which is great to hear from John.  But like I said, most of all it’s smooth, reminding us that John has come a LONG way from his legendary Karaoke nights.  There are some really great sound effects and some snarky lyrics as well.  By this point, John’s barely even an outsider anymore, really becoming a coherent songwriter.  There’s still that bizarre humor aplenty underneath it all and tons of Gothic vibes.  But outside of that “Outer Space” is business as usual for John, in the best way.  Meaning, John really sounds great, and this is totally a fine introduction to his usual very whimsical world.  Now, if you’re familiar with John’s work, you should absolutely know what to expect by this point.  “Dumpster Baby” is bouncy and incredibly chilly and uninviting.  This one is alright, but part of me does feel like this is a back step for John.  That tongue in cheek humor is there, and there’s certainly an outsider feel to this.  And the production on this one remains a huge step ahead of what Maus usually pulls together.  But for me, this one sounds like a refurbished track from one of his early albums.  At the very least, “Episode” reels us into the sort of whimsical, fantasy world I love to lose myself in when it comes to John Maus.  This one is still just as kooky and bizarre, but here John once again reminds us just how far he’s come.  As experimental as this track is, John sounds coherent, which is more than I can say about his early work.  I love the upbeat vibe to this, it takes me back to just how great some of the upbeat moments of “Screen Memories” were.  Not to mention, I just love hearing John in this mindset.  It’s jolly and all, but it has that darkness to it that’s just so captivating, and it makes John Maus one of his genres most intriguing figures.  Then we have “Drinking Song” which is a real shot out of left field.  It’s short, but this one has just so much going on.  It has this intense, low groove and these soaring synths that can’t sit still to save their lives.  It’s actually a really captivating intro, and I personally would love to hear John play with more of these sounds.

The more this album rolls on, I have to be impressed with just how confident John sounds.  Take a track like “Figured It Out” and compare it to the early days of his career where John was basically writing little snippets of tracks.  Then we have this here, which has countless layers to it and John’s maniacal performance in the background.  Which honestly, I wish we heard a little more of.  This track at it’s core sounds fine, but John’s performance here sounds more like an afterthought than anything.  I do have to give John credit though, he keeps reeling me in with countless whimsical tracks like “Middle Ages”.  While John once again isn’t front and center, at the very least here he doesn’t sound like an afterthought.  This one has some great creeping synths and a really thick, cloudy atmosphere.  But as “alright” as this track is”, I can’t help the feeling that there’s a very obvious reason why some of these tracks didn’t land on “Screen Memories”.  They certainly aren’t terrible, but they almost come off like demos.  Very progressive demos that work for John, but demos nonetheless.  On the other hand, “Mind the Droves” wipes out everything I just said.  This one is far from an incomplete though, and easily could have been a single I love layers and layers of synths that just come off so alien, and just how intense and groove-centered this one is.  It’s just so hulking and gigantic and easily the darkest track of the bunch.  Hell, John sounds like some demonic narrator and these drums just get bigger and better by the second.  This is the sound I want to hear John dive further and further into, and reminds us just how strong those Gothic influences are.  This album rolls on with “Privacy”, and once again I feel like it’s these heavier, darker tracks that I really feel like John needs to stick with.  Like, if John got conceptual with this sound and made an album in this style it would blow this genre out of the water.  This one is just so hulking, massive, and dripping with pure evil.  And just hearing John perform at the center of it all is mesmerizing.  This track is also one of the more hypnotizing here, it’s hard not to get completely entranced by the numerous layers and seemingly hundred different directions this one wants to go in.  “Privacy” is fantastic and so is it’s sound, I just really hope John runs with it in the future.

On the other hand, “Running Man” is intense in a very different manner, with hectic synths and John’s very manic performance.  But as much as I usually love to hear John in this atmosphere, which trust me, I do, this track sounds like a leftover once again.  I don’t get the feeling that this is some interesting b-side or alternate take.  I just listen to this and it’s blatantly obvious why John left this off the album.  I praise the intensity, but everything else about this one falls apart quickly.  But I will say this, John’s very tortured performance towards the end is something special.  But in a bizarre twist, “Second Death” may just be the warmest and most inviting track not only here, but that John has touched in a long time. It’s just so smooth and sweet on the ears.  Hell, I don’t even mind that this one is so short and practically an afterthought, it breaks up this album nicely.  Then we have “1987”, and I can’t help but really pay attention when John gets in these zones.  Once again, John is working with this laser-focused, intense atmosphere.  I just really REALLY wish this one was written out a little more.  John may still be an outsider, but I feel like he was just so far past these sort of repetitive tracks with only a few lines.  Granted, it still does work for him and makes for a pretty hypnotic track.  But once again, I can’t shake the feeling that this is a back step.  But as a finale, let me tell you, “I Want to Live” is a let down on all fronts.  This is one of John’s spaciest tracks here, but in the worst way.  Some of his heavier tracks here have just come off so unfocused.  This one just sounds like John screwing around.  No, it’s not pleasant, it’s just hard to place and weird.  Not to mention, songwriting-wise this album has taken an absolute nosedive in these later tracks. 

Rating: 7.5/10

Give A Listen To: “Outer Space”, “Episode”, “Mind In Droves”, “Privacy"

Least Favorite Track: “Running Man”

Genre: Psychedelic Pop / Hypnagogic Pop / Post-Punk / Synth Pop

Overall Thoughts:  This is supposed to be a companion piece to John’s album from last year “Screen Memories”.  And in a lot of ways, that’s pretty obvious.  There are numerous moments on here that it becomes pretty clear that this was recorded around the same time.  However, “Addendum” is a very different animal.  For the most part, it’s much more whimsical and hazy, which does sometimes make this come off as unfocused.  But in times, the Gothic Pop and Post-Punk vibes of John’s album from last year make a glorious return.   This is a slightly above average companion album, with plenty of tracks that show that Maus is one of the more creative minds in Psych Pop still.  But as every companion album, in parts, this is a mixed bag, and it’s sort of obvious why some of these were left from the “Screen Memories” project. 

GAS - "Rausch"

GAS is the Electronic/Ambient project of German producer Wolfgang Voigt.  Ever since the mid-90's, he's been pushing out some seriously dense, seemingly incredibly vast and dark material.  I first got familiar with his work on his 1997 album "Zauberberg".  Now, getting into a new Ambient of Electronic artist is usually not the easiest task in the world.  But I quickly latched on to GAS's music.  This album was absolutely dark, and just so inhuman sounding.  There were banging house beats, hidden under layers of noise and ambient sounds, which made for a chilling effect.  It's one of the easier album's of this genre to get into, despite being an hour and 20 minutes, and it's more than anything hypnotic.  GAS returned a few years later with "Konigsforst".  For the most part this had a lot of the same qualities as the last GAS project.  But to me, it was even more immense.  The beats were heavier and the atmosphere was even more hulking and crushing.  It was becoming apparent very quick that Voigt was an absolute master of this sound. Voigt returned in 2000 with "Pop", ironically his least Pop-oriented album yet. This album for the most part is an ambient album, at least in the first half.  Some of the later tracks had GAS returning to his sound that got him on the map to begin with.  But the majority of this album wasn't as exciting for me.  Sure, it was beautiful and such a wonderful atmosphere.  But man, I just was sort of sitting around waiting for more to happen.  Voigt then took a whole lot of time off, and returned in 2017 with "Narkopop".  Now, I think this is certainly a better album then it's predecessor.  I love how dramatic it gets in parts, and just how solid the more Ambient works were here.  But overall, I still wasn't nearly as into this as some of his early work.

Like every other GAS album, this album has a bunch of different movements, all titled "Rausch".  Right off the bat with "Rausch 1" I have to say, I love how much more hulking and ominous this one is.  I mean, if you're familiar with GAS's work, you know what to expect.  There's a strong ambient sound, some nice rainy sound effects and tons of glorious Drone underneath.  It's honestly much more hulking and gigantic than anything I can remember off of GAS's last album "Narkopop".  There are some eerie synths right out of the book of like, Nils Frahm, or maybe Tim Hecker.  But it really gets you on the edge of your seat.  It's ominous, with each backing instrumental really catching you off guard.  It's all so patient, from the cymbal taps to the drones that are just so hypnotic.  It's a weird intro, one that almost makes you imagine sounds and you can't always remember what you actually heard and didn't hear.  But it's breathtaking, right until that last minute where it almost sounds like something even more hulking is about to pounce.  But with "Rausch 2" we almost get some relief from all of the pressure, with some airy synths and sweet pianos.  Plus, those drones aren't nearly as piercing. It still remains beautiful, and then all of a sudden you hear that beat in the distance.  That's right, just like old times there's that obvious banging beat nearby.  But it's just so shrouded by everything else.  It sounds like it's coming from another dimension which hell yea, is super cool.  Obviously this one isn't going to get you out on the dance floor exactly.  But it's just so good at encompassing you completely.  It's sluggish, massive, and almost sounds like it was all done in slow motion. But it makes you take notice, and it's actually quite beautiful.  All of this of course, while remaining genuinely eerie.  Like, there are some disturbing synths that come in that will seriously grate at your nerves.  It's wild really, and as this one rolls on the progression is fantastic.  With each layer of synths, this one gets more mysterious.  The music of GAS remains an anomaly. The very hulking, massive sound of this album rolls on with "Rausch 3".  There's a lot of sound-play here.  But of the tracks we've gotten so far, there seems to be a lot less going on here.  At the very least, this sort of sounds like an extension of the last tune.  It's alright and all, but i need a little mix up.  The beat is still hulking though, and the very otherworldly sounds of this just works so strong.  There's a very cinematic feeling as well.  But this is slowly getting further and further away from where I really want to hear GAS. This may still be massive and it works to an extent.  But it is certainly missing a certain simplicity.  However, I do like the sort of glistening synths towards the end.  On the other hand, "Rausch 4" seems to have some real trouble brewing underneath these synths and that atmosphere.  It's hazy, hard to place, and probably the most legitimately intense track here.   But "hard to place" is easily the right way to describe this one.  The instrumentals here sound inhuman, the fact that his is man made is ridiculous.  Each instrumental just sort of floats into one another and it's really often hard to remember if you've heard them all or are hearing them for the first time.  I mean, good luck describing this to anyone ever, but it's a monstrosity that you need to hear to experience correctly. 

Up next, "Rausch 5" has almost a playful sort of beat in the background that's truly something to behold.  It's got almost a bounce to it below one of this album's lighter atmospheres.  It's almost a little too light, to the point where the fact that this isn't as massively hulking makes it stick out like a sore thumb.  But I think the mystery of this one adds to the drama behind it all.  You keep thinking something is going to come blaring through, and I swear if something did I would probably scream.  But it's really interesting to hear this very chilly orchestra just out of reach.  It almost reminds me of the works on Prurient's "Frozen Niagara Falls".  Just, you know, way less instantaneous and not nearly heavy.  This one has some interesting stuff going on deep down.  I just really wish this was a little heavier.  On the other hand, "Rausch 6", which is instantly an entirely different animal altogether.  It's much more euphoric, and almost sunny and a little positive.  But over all of that there's this grinding drone that really doesn't let up at all.  So much so that this is practically heavier than half of the metal I've heard all year.  And as this one goes on, it just gets darker and less sunny, to the point where it's just this churning, unadulterated noise.  It's not pretty, but at the same time it's almost reassuring.  Clearly, I have a whole lot more to say about this album than GAS's project from last year. Which I know some may not agree with.  But this track absolutely rattles me to my bones.  And then that same beat that we had earlier works it's way back in, so hell yea this works.  But this album is far from over.  "Rausch 7" once again has these shimmering synths that once again just don't come even off as human.  At the end of the day, Voigt is a master of sound.  This finale is easily one of the most exciting tracks here, with all of these very alien instrumentals floating in, making for this clash of sound that I don't even know how to describe. But of all the tracks here, I can't say I remember any of them being this experimental and truly out there.  It's actually pretty flooring.  All with that same, patient beat floating so close yet so far.  It's a truly indescribable finale, but if you're patient with it, it's eye-opening.

Rating: 7.7/10

Give A Listen To: " Rausch 1",  "Rausch 2", "Rausch 4",  "Rausch 6"

Least Favorite Track: "Rausch 3"

Genre: Ambient / Drone

Overall Thoughts:  GAS doesn't make music for people who aren't patient, let's start with that.  People were shocked to see Wolfgang coming out with an album only a year after he returned with "Narkopop".  But to be honest, I have a whole lot more to say about "Rausch".  This album isn't the waiting game that his last album was, even though that wasn't a bad thing.  But this album is so much more monolithic, with so much more Drone influence and some seriously noisy parts.  The two longest tracks here are a little disappointing and are maybe just a little too ambient for my taste.  But this album overall is a surprisingly very exciting album from GAS.

At The Gates - To Drink From The Night Itself

At The Gates are a Swedish Death Metal band that have been at it since the early 90's.  Now, I'm going to be straight up with you guys.  When it comes to the early days of Death Metal, I'm incredibly picky.  But I actually really love their 1992 debut "The Red in the Sky Is Ours".  Sure, the production is a little muddy even for this period in Metal, the performances are freakin' awesome here.  And that goes especially for vocalist Tomas Lindberg who just seem to be sweating Metal energy constantly.  Plus while this was almost completely a Death Metal album there were some nods to other genres like Thrash and Folk Metal, which all came off really nicely.  At The Gates returned in 1993 with "With Fear I Kiss The Burning Darkness".  Now, this album was even heavier and crunchier, with bulkier guitars and more hulking atmospheres.  The production still wasn't exactly where I wanted to hear it.  But for an all-around heavier album this was just fine.  But in 1994, At The Gates really won me over with their "Terminal Spirit Disease" album.  Here, At The Gates brought to the table a whole lot of the same elements.  Meaning, Death Metal as a base, with some Folk Metal and Thrash thrown in, some great imagery and seriously wild performances.  But here, it was so much more polished and incredibly produced.  No longer did it sound like At The Gates were recording their album's live in a sweaty bar, not that there's anything wrong with that.  But hearing the band this crystal clear all around just helped me access their music more than ever, and I loved every minute of it. They returned in 1995 with an equally pleasing album in the form of "Slaughter of the Soul".  This album was just as crush, intense and once again very well produced.  But more than anything, At The Gates to me had never sounded more unified.  There were cinematic moments, there were brutal moments.  But at the end of the day, they never have sounded better.  At The Gates than took almost 19 years off, to return in 2015 with "At War with Reality".  And honestly, it's not a terrible album.  Instrumentally, I think the band sound more vicious than ever.  But for me, I wasn't as into  Tomas Lindberg's more MetalCore style vocals, but that's just me. The legends are back with a brand new album, and yes, I'm TOTALLY more into Tomas's vocals this time around.  These singles in general, actually sound pretty great.  Let's dive deeper. shall we?

This album starts off with “Der Widerstand”, and right off the bat some people may not be into this intro.  But personally, I love to hear a certain campiness when I’m listening to Metal.  And this track is scratching all the right itches.  It’s epic, short, and there are these tense violins and eerie instrumentals.  I have literally nothing bad to say about it.  Then, At The Gates absolutely tear into this album with no fear and no regrets with “To Drink From The Night Itself”.  This track is just the absolute blast of Metal I needed to hear right about now.  Tomas on vocals sounds at his most guttural and animalistic.  And while they still absolutely pull a little more from the MetalCore style like the band’s last effort, it comes off so much more vicious here.  Some of the slower, more building passages are actually brilliant.  Meaning every time one of these ripping verses come along, it’s like hearing it for the first time.  This track is absolutely brutal and takes no prisoners.  But in true At The Gates fashion, to an extent it certainly is catchy.  Just don’t tell them that.  The very determined sound of this album continues with “A Stare Bound In Stone”.  I feel like I haven’t heard the band this focused in a really long time.  That slight melodic edge is all but gone here, and this is a much more technical Death Metal jam.  The result, really doesn’t have as much personality sadly.  But At The Gates continue to play with the intensity of a band half their age.  Not to mention, the last 30 seconds or so is an absolute onslaught in the best way.  On the other hand, “Palace of Lepers” is much more along the lines of where I love hearing this band.  It’s not as technical and constantly morphing.  But it’s these moments here where the band just constantly bash forward that things get wild.  It’s gritty, dirty, and absolutely pummeling.  I love some of the imagery in the lyrics.  As wild and out there are this is, this is 100% where I need to hear Metal, completely over the top.  I love the determination on this one and just how focused the band sound.  They may be well over 30 years into their career, give or take some time off.  But they haven’t sounded this explosive in years. 

https://www.youtube.com/watch?v=dhru7gT0cIE

But if one track took the cake completely on this album, it would have to be “Daggers Of Black Haze”.  This track is the band at their absolute campiest, but by no means is it goofy.  It plays to the themes that this genre was built on wonderfully, while helping it evolve as well.  It’s funny, as far as a Death Metal tune goes, this is one of the lighter tunes of the album.  But the band make up for it with some of their most memorable vocals yet and absolutely tons of personality.  It’s still vicious, and while it may be the band at their most dissectible, it’s without them giving up anything of what made them truly great to begin with.  I love the atmospheric passages, the moody strings that pop in, and just how immense this track really is.  This is the kind of Epic tune that they can pull off so well.  “Daggers Of Black Haze” gives me the chills friends.  But for all of you that just want to hear At The Gates absolutely freak out and get back to their more technical onslaught, this is the track for you.  As far as a main riff goes, I actually can’t get enough of this.  There is absolutely no stopping it, it’s pummeling and barely gives you a chance to breathe.  Now, I’m not really into Tomas’s vocals here once again.  It’s these moments where things get a little less melodic that things really do get a little iffy.  But this one has enough atmosphere and epic instrumentals to stay interesting.   “In Nameless Sleep” however gets things back in an even more vicious way.  On the other hand, I’m so much more into Tomas’s more vicious and cutting performance here, especially at that sort of break.  I have to commend the band for continuing to venture down this very grand style of Death Metal.  It ends up keeping this album surprisingly fresh.  And the playing here, whew, this one rips boys and girls.  They literally give you absolutely no room to breathe with “The Colours of the Beast”.  But what the hell is going on with this one?  I don’t mind the band slowing down to build some tension.  And I do like some of the atmospheric playing in the background.  But this one is just so muddy and sticks out like a sore thumb.  Even on the slower, earlier tracks it was so clear that At The Gates were playing with their everything.  This is just a really awkward track all around.  There’s nothing epic or even determined, just really sloppy. 

https://www.youtube.com/watch?v=dy-FHDx4_Pw

Thankfully, “A Labyrinth Of Tombs” does bring back some of the intensity that was lost.  This one is a big step back in the right direction.  It doesn’t come off nearly as awkward, and the band are back to at least playing with everything they possibly can.  But this one lacks a little something I crave as well.  The atmosphere just isn’t as encompassing here, and this is so much more faceless than other tracks.  Especially with just how dripping with personality some of this album has been.  On the other hand, “Seas Of Starvation” is just the excess of personality I need.  This one has everything that At The Gates has been known for over the years, between the intense playing and the visceral vocals.  But it also has tons of glorious personality.  The atmospheric intro, the gong banging in the background, this one just has so much going on and it’s brilliant.  But all of that doesn’t take away from anything at all.  Just the opposite, it makes this one even more intense.  Not to mention, this may be Tomas’s most brilliant performance of the album. Then we have “In Death They Shall Burn” which is just as pummeling and brutal as you would expect.  The drums are intense, the guitars are soaring, and Tomas sounds solid as well.  But while this one is good, tracks like this to me just come off as At The Gates in their comfort zone.  But even buried in their own comfort zone, this is easily the best Death Metal album you’ll hear this year.  But from the sound of “The Mirror Black”, At The Gates are ending this album off with all the fantastic personality they can.  This track is absolutely massive and powerful.  It’s easily the slowest track here, but that doesn’t stop it from being aggressive and absolutely epic.  But like I said, this one is all about personality.  I love the more spoken word vocals from Tomas which just end up sounding so sinister, and give this finale a truly evil feel.  But trust me, “The Mirror Black” isn’t pretty, it’s disgusting in the best way.  It’ll rip your damn guts out and eat it, and not feel sorry at all.  

Rating: 8.2/10

Give A Listen To: “To Drink From The Night Itself”,  “Palace of Lepers”, “Daggers Of Black Haze”, “Seas Of Starvation”

Least Favorite Track: “The Colours Of The Beast”

Genre: Death Metal / Melodic Death Metal 

Overall Thoughts:  Death Metal legends At The Gates after all these years are doing the genre so much justice, and making it look easy.  This album does away with the more MetalCore style vocals of their last effort and has them returning to the routes of what got them on the map in the first place.  The vocals are visceral. the drums are intense, everything you would expect from an At The Gates album.  But where this album really stands out, is its personality.  From little details like strings and atmospheric passages to more in-your-face moments like the gruesome but memorable lyrics, At The Gates here are at their campiest, in the best way.  It's melodic in parts, crushing throughout, and after all these years At The Gates are still on top of the game. 

Death Grips Discography - Ranked

Howdy friends.  We all know Death Grips' "Year Of The Snitch" is getting closer by the day, and I have that feeling they're going to be dropping it sooner rather than later.  So, I figured I would take a few minutes and rank the Experimental Hip-Hop trio's discography.

6. Government Plates - It's literally practically an MC Ride solo album.  There are few interesting beats and little to no distortion.  There are a few tracks that are OK.  But as a Death Grips album, this is a drastic low point for the band. 

https://www.youtube.com/watch?v=y2cQvZPX3OY

5. No Love, Deep Web - This album to me, even since the first time I heard it years ago came off to me just so rushed.  This album was released only a few months after their breakthrough "The Money Store".  But the lack of interesting samples and the heavier tone to this album, just didn't do as much for me.  Once again, there are some of my favorite tracks of the group on here, like "Black Dice" and "Lock Your Doors".  But the lack of paranoia and the less busy atmosphere made this one blow right past me.

https://www.youtube.com/watch?v=mapWRFAqrd8

4. The Powers That B - This one is a toughy.  When I first heard the first disc of this album, I was just pissed off.  The very spacey, muddled vibes of this album were way too strange, even for Death Grips.  The disc seemed completely unfocused at times, and it just seemed like an experiment gone wrong.  However, I still think "Have A Sad Cum BB" is a straight up classic. On the other hand, the second disc "Jenny Death" is absolutely flooring. For the most part, it's the most "rock" thing Death Grips has put forward. It's heavy, it's hulking, it's the sound of a man absolutely losing his marbles.  Hell, if it was just this disc, this may be Death Grips' finest work.  But as a double album, it is rough at times.

https://www.youtube.com/watch?v=49B5f6awKOg

3. Bottomless Pit - The wildest and most pummeling Death Grips album.  To some, its the reincarnation of Bad Brains.  To others, this was wild and absolutely insane new direction for the trio.  If "Jenny Death" was their "Rock" album, "Bottomless Pit" is their "Punk" album. From the absolutely punishing, freaking "Hot Head" to the Social commentary of "Eh", this album really did seem to have it all.  It's also the band's most hard to pace and often the most abrasive.  So if you're not into that, you may not be feeling this.  But if you want to hear an already broken MC Ride go one step further into insanity, this is a must listen.

https://www.youtube.com/watch?v=tnnniIsw3b0

2. Exmilitary - The mixtape that started it all.  This tape has absolutely aged remarkably.  It's experimental Hip Hop at it's finest folks, and even way back in 2011 Death Grips were approaching this genre like no other.  They sample everything from Link Wray to Charles Manson, and do it in style.  This tape is heavy, massive, crushing, and mean enough to kick you when you're down.  You never know when some blaring beat or aggressive verse will pop in, making for easily one of the most exciting in the Death Grips discography.

https://www.youtube.com/watch?v=Vd1-P-R_f-0

1. The Money Store - The end of innocence.  Good Vs. Evil.  Evil beating Good to a bloody fucking pulse while screaming "GET GET GET GET GOT GOT GOT GOT".  Oh "The Money Store", how you've aged so well.  One of the most iconic and genuinely freakish experimental Hip Hop albums of the last few years, there isn't much not to get wrapped up in here.  It's hypnotic, bizarre, pummeling, all done with slick production and beats that will absolutely blow your mind.  From the mind-warping "The Fever (Aye Aye)" to the soaring, anthemic closer "Hacker", if you haven't listened to Death Grips, start here. 

https://www.youtube.com/watch?v=W43aQxzjyeM

Stephen Malkmus & The Jicks - Sparkle Hard

Ok, so I'm not going to sugarcoat anything here, I've never been much of a fan of Pavement.  Hey, I'm sorry, I'm just not.  I mean "Slanted and Enchanted" is GOOD, but like, I've never obsessed about Pavement or lead singer Stephen Malkmus like most.  Around 2000 he started playing with a new band, The Jicks.  And for the most part, I had the same issues with this album as I did with Pavement's work.  I thought their instrumentals were solid and Malkmus is absolutely sharp as a tack.  But I found myself only drawn to parts of their 2003 album "Pig Lib".  I enjoyed the intensity of "Witch Mountain Bridge" and the more upbeat "Vanessa from Queens".  But the more stripped down, singer-songwriter feel to this project just wasn't doing much for me.  At this point, I would have just rather listened to Pavement.  Now, I'll be honest, I was a whole lot more into their 2008 album "Real Emotional Trash".  This album just had so much more personality, and the performances seemed to be so much more raw and wild.  And it's funny, the majority of these tunes were much longer and much more in depth, something I really didn't think I wanted to hear from Malkmus and his new band.  But I didn't mind this at all. But just as soon as Malkmus and the Jicks sort of won me over, they lost me almost immediately with "Mirror Traffic".  This album was right back in the style of Pavement.  There were wordy performances and much more of a focus on Stephen, and it just lost me so quickly.  And I'll be honest, I was one of like 10 people who thought 2013's "Wig Out at Jagbags" album really wasn't terrible.  I loved the more subtle sounds of this album, the swagger of "Houston Hades", the triumphant "Chartjunk".  To me, it just seemed to me like Malkmus just didn't have anything to prove and was at his most relaxed, and I loved that.  So it's been a while since we've heard from Malkmus and his band.  And honestly.  These new singles aren't terrible.  Nothing incredible, but certainly not bad.  Let's chat about it.

Now, “Cast Off” really isn’t the introduction I was expecting at all.  I love just how slow and dramatic this track is.  It’s just so powerful, and Stephen, when he pops in just, sounds so dreary and exhausted.  The guitars are crunchy, the pianos are grand, this is the slow-burning intro I didn’t know I wanted.  It’s also really patient, with Stephen and his band really giving this one some time to settle in.  I’m just not used to hearing any of these things from Malkmus and his band, but it’s great to hear.  On the other hand, this one sounds a lot int he line of what I usually expect from Malkmus.  There are wordy verses and twangy guitars.  But there are also warm synths and a really relaxed vibe that I can totally get to.  I just feel like with this album Malkmus sounds so relaxed, much more so than I have on other albums in his past.  This is actually a really pleasant, breezy Indie tune that puts me in a great mood.  On the other hand, “Solid Silk” is a little more stripped down.  But I love just how longing this one is, and just how emotional it gets.  Malkmus once again in his performance doesn’t sound like his usual self at all and sounds just so broken down and hurt.   I love some of the little details here, like the warm synths and just how longing Stephen’s lyrics are.  This one is quite frankly beautiful, and I’m really not used to being so into his music at all.  The strings are a nice touch, and this track has just the epic feel to it that I can’t help but get wrapped up in.   On the other hand, “Bike Lane” takes things back in a more upbeat direction, one that’s pretty determined still.  It’s got a heavy bass groove and all.  But it’s tracks like this that have never really interested me when it comes to Malkmus.  Here, he just sounds so robotic, while on the rest of this track, he’s sounded like he’s been so loose and relaxed.  I dig his lyrics here and all, but even the instrumental is a little too on tracks for me.  If I had to sum up “Bike Lane” in one word, it would be “formulaic”, especially at this point in his career. 

On the other hand, “Middle America” is once again this sort of broken down, loose feeling track that I actually really dig.  I wouldn’t say it’s my favorite performance of the album, but it’s light on the ears and has one of the most memorable choruses of the album.  It’s sweet, hypnotic, and seriously memorable.  I would much rather hear this from Malkmus than have him try to redo his Pavement years.  But then we have “Rattler”, and whoever gave Stephen Malkmus a synthesizer on this one should go to prison for this one.  This is just so synthetic and it comes off so weird, especially with all of these intense drums.  This track is an absolute disaster of one, filled with some really questionable twists and turns.  And I’ll give this one points for being a little exciting.  But it’s sort of just an experience that I had once, and never want to have again.  On the other hand, “Shiggy” is a serious shot out of left field.  The production on this track is absolutely gigantic.  It’s hulking, suffocating, and for some reason almost funky in a way.  But at the same time, it’s just so determined, and Stephen sounds so comfortable.  IT’s a smooth freakin’ track man.  Not to mention, I love just how epic all the instrumentals are.  Mr. Malkmus, some more of this in the future, please.  I would so much rather hear this than him playing what got him famous in the early 90’s.  But up next, we get the dreaded acoustic number in the form of “Kite”.  I’m really not into these very sleepy verses.  I’ve just heard so much much of it over the years.  Now, I think this one picks up into a pretty interesting track on the other hand.  I love the serious funk and almost disco feel in parts.  It’s a shot out of left field, but at this point in Stephen’s career, it’s the only thing that’s really keeping him interesting for me.  I don’t really see the point of going back and forth however to the more dreamy verses here.  Trust me, they aren’t nearly as interesting.  Plus, Stephen in general here sounds like he left some of his writing chops at home.  This one has a lot of ups and downs.  But I would still much rather listen to this than the majority of his catalog with the Jicks.
“Brethren” on the other hand is once again another stripped down number, but this one I’m so much more intro.  I love just how loose and breezy this one is.  I absolutely love the lyrics here, and Malkmus sounds so comfortable on vocals.  The instrumentals are sweet, and for a more stripped down track, this is the way to go.  Then we have “Refute” featuring Kim freakin’ Gordon.  Once again, it’s another stripped down track, but it’s the way to go.  I mean, I’ve literally never heard Stephen in such a southern atmosphere, but it sounds great.  It’s catchy, very endearing, and all around likable.  And then we have Kim Gordon of all people here as a guest, and I honestly haven’t heard her sound this good in years.  I love how rugged she sounds here, and it adds to the honky-tonk feel of this one.  I have nothing bad to say.  But would you believe it, with “Difficulties / Let Them Eat Vowels” the band tries their hardest to end this album off on a more experimental note.  It’s stripped down once again, and it’s certainly bizarre and weird.  But for the most part, this isn’t nearly as interesting or as charming as some of the other tracks here.  On the contrary, the only thing really standing out here is Stephen’s performance, which certainly is passionate.  Did I mention this track is over 7-minutes long?  I mean, when it picks up into a funkier jam it certainly does get a little more interesting, but as a finale this track is awkward.  And Stephen’s effect-drenched vocals?  No thank you. 

Rating: 7.9/10

Give A Listen To: "Future Suite", "Solid Silk", "Shiggy", "Refute"

Least Favorite Track: "Rattler"

Genre: Indie Rock

Overall Thoughts:  For a guy who's never been too crazy about Pavement, and has been even less crazy about Stephen Malkmus's new project The Jicks, this is a pretty solid album.  For me, I've always felt like Malkmus in the past few years has been trying way too hard to be in another band like Pavement.  Which obviously, isn't going to happen.  Which leads me to this album, which is the furthest thing from Pavement Malkmus has ever done.  His material here is just so smooth and loose, Malkmus hasn't sounded like he's having this much fun in years.  There are a lot of really decent, breezy indie tunes and some really nice stripped-down ballads as well.  If it wasn't for a few awkward tunes, this would be a really great album.  I still think it's the best thing Malkmus has done in a while, and it's absolutely worth a listen.