Find Me On:
1 Burial – Rival Dealers
2 Oneohtrix Point Never – R Plus 7
3 Tim Hecker – Virgins
4 DJ Rashad – Double Cup, IDGAF EP & Rollin’ EP
5 CFCF – Outside
6 Julia Holter – Loud City Song
7 Bill Callahan – Dream River
8 Kanye West – Yeezus
9 My Bloody Valentine – MBV
10 Tape Loop Orchestra – In a Lonely Place
@RaptorJesus – Man do I love that Dirty Beaches album, so so much, but it is too painful to listen to now and I haven’t been able to without breaking down, for 7 months – so I haven’t been able to fully collect my thoughts on it but it’s probably #0. A truly transcendent musical effort.
Bro, Beyonce ~IS~ Burial
Never really been around much yet for years I somehow became entrenched in the chaotic-yet-occasionally-caring community fostered here (having gone as far as meeting RaptorJesus – real cool dude btw, hope he don’t hate me), so because I’m not going to be around any more (online, though no-one cares and I’m being a melodramatic ass posting this) I just wanted to give my thanks, so thanks. lol.
and because ima self-centered, impatient fool here’s my top 15 of the year:
1 R Plus 7 – Oneohtrix Point Never
2 Virgins – Tim Hecker
3 Double Cup – DJ Rashad
4 Outside – CFCF
5 Loud City Song – Julia Holter
6 Dream River – Bill Callahan
7 Yeezus – Kanye West
8 MBV – My Bloody Valentine
9 Our Nation – Shine 2009
10 In a Lonely Place – Tape Loop Orchestra
11 A Chance of Rain – Laurel Halo
12 Amygdala – DJ Koze
13 In Transit – Recycled Culture
14 The Man Who Died in his Boat – Grouper
15 The Knight’s Gambit – KA
Peace, Love <3 – Sloth
I’m not that into rock music, even though I really enjoy the No Age album from this week (though I would place that more among an outsider purview due to its excellent use of texture and shifting of traditional notions of rock instruments to inhabit other roles – bass as melody, bass as percussion, guitar feedback as strings, etc) my favorite of this week – and top 5 of the year – is Loud City Song, it’s just a beautiful album that focuses all of Julia’s wily avant-garde tendencies into a cohesive experience.
Your and Gabe’s departures have worked to remind me – against all my fighting to remain ignorant to it – that I’ve gotten older. It’s crazy that I’ve been reading this website for 8 years; my life has been change by my exposure to it, I’ve made incredible friends through the Videogum community – I still remember the day Scott announced it, unfathomable to think where I’ve ended up now all because of a music blog. I was 15 when I started reading, I remember that dude (though I do too much mythologizing of that period) – I remember trying to stream some Shins song on my gen 1 sony vaio off sub dial-up cable internet (we were poor). Maybe it’s my time to move on too, lol jk.
Thanks for everything, lookin forward to Revolt <3
Ultimately while Earl is – and I have no qualms calling him this, tho it might be stretching – a genius, with a singular style (a style already inspiring imitators – who don’t even come close *GLARES AT MAC MILLER*) he is not a good songwriter, or at least one to elongate his ideas into fully conceived songs, most of the songs on his first release were 1-2 minutes long and the ones solely featuring him here are around 2:00 (save for Chum, tho that’s due to the extended outro). At straight spitting he’s masterful, (and even though I hate talking about what an album could’ve been… a simple 12 track album with 2 minute straight spitting songs and maybe 3 guest spots would’ve been great).
The spittin villain,
I feel like the guest verses ruin what should’ve been (and is in the case of most of Earl’s verses here) an introspective and insular experience.
Though on second though they could work to ground the album, whereas Earl is concerned with his experience, and there are other things happening outside of that.
Similarly on a lot of the tracks featuring guest (except: Hive) he is the second one to rap.
Reminds me more of Julee Cruise Nightmare-Neo-Noir lounge stuff, shit rocks regardless.
I mean as far as neo-lite-brite psychedelia goes this is far more nuance than the last Tame Impala album despite it appearing simple, which is why it ultimately works, there’s a lot going on here between the channels–its simplicity a fraud giving way to superb sound design; or whatever B|