An Album A Day Keeps The Doctor Away | 365 Album Challenge

**EzExZeRo7497** · 06-29-2014, 09:20 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

Shoutouts to day-long anhedonia.

June 29th, 2014
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Broken EP by The Berzerker
The Berzerker was a cybergrind/grindcore/deathgrind band from Australia. Throughout their careers they have produced a couple of grindcore albums, and some speedcore on the side. Their style differs in every album, from the hard-hitting and raw self-titled album, to the dynamic The Reawakening. Not fond of all of the albums, but I feel that they've made one or two good albums. I liked Animosity considerably, along with Dissimulate. I would review The Reawakening, but I'm really not feeling well, both physically and mentally. Going to review something shorter, Broken. A seventeen minute EP, with only four tracks. Not sure what to expect - I'm assuming that it'd be similar to the self-titled album.

The self-titled track, Broken, is probably just as hard as cybergrind gets. Any more layers and it'd probably be flashcore. It's fast, it's relentless and it's noisy. It's cybergrind. There are some speedcore elements too, like the incredibly fast kicks. I like it, though it's not something I'd listen to regularly. Tracks with this much raw energy really intrigue me, not many tracks could create this much without being incoherent. While I can't say this is the most organised track ever, there's definitely something neat going on here. Only complaint would be that it's a little too distorted for me. I don't think there's a higher quality rip of this other than 128 though...

Inhale starts off really oddly, starting off with distortion coming from a mic. It then punches you with, as you'd expect, really fast hard-hitting kicks. It is the most dominant part of the track here though. It's the main thing you'd be hearing in the track, other than the occasional mic distortion. It's easily the most "speedcore" track here, but I can't say that I love it. Fast speeds alone don't quite appeal to me. I like the sound of it slightly, but not enough to think that I'd listen to it again. The intro is pretty offputting, too. Overall decent, but has potential.

Herald starts off very mechanical and dark, almost industrial-esque. Track then builds on by adding relentlessly fast kicks to the mix. The track further progresses, with more and more layers (cymbal crashes, faster kicks) added. It's interesting, but it honestly feels aimless. It's not really something I'd bang my head to, as it's really not engaging in any shape or form. It's just heavy and hard-hitting. The sound's definitely not intolerable, but I feel that there's a lot to be desired. A little too much emphasis on the heaviness and not enough on the creativity.

Shoe Polish is cybergrind filled with tons of distortion. Like, lots and lots of distortion. Way too much for its good, I'd say. The track is just distorted to the point that it just doesn't sound very good. I could imagine the original grind without the distortion to be much better. I could make out a cybergrind melody, but it's swamped with so much distortion it becomes a hassle to listen to. It's still okay, but it can be much much better without so much distortion. As it is, it is what it is. Just a decent track ruined by distortion.

To summarize: Broken is probably one of the better Berzerker tracks, but the rest are quite unmemorable. Inhale has been outdone by many speedcore/flashcore artists, like La Foudre. Herald and Shoe Polish are just mediocre. It does lean towards the negative side if you judge track by track, but I'm indifferent to it. The Berzerker isn't a band I'd listen to everyday, but they're interesting once in a while. Would I listen to this album when I'm in the mood for grindcore or speedcore? Probably not. I'd listen to Animosity or Grist instead. Just not very good, I guess. It's not bad though, I wouldn't mind listening to this when someone is playing it. That is, when someone is playing The Berzerker to begin with. I've yet to meet a single person who enjoys The Berzerker. I don't blame them if they don't like The Berzerker though. Stepmania has ruined my music taste and my life.

Album Highlights: Broken
Track Average Rating: 2.62/5
Overall Rating: 5/10

This was the 300th album I've listened to this year. Not as extravagant as I'd want it to be, but it's nice to hit a milestone anyway.

**EzExZeRo7497** · 07-1-2014, 09:44 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

July 1st, 2014
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Awakened by a Lonely Feud by Fires Were Shot
Fires Were Shot is a drone/ambient duo from Texas. I have listened to some of their works before - and it's quite different. It's like a combination of (distorted) acoustic guitar, some folk and drone. That's what I got from both Solace and Maritime, at least. They were solid albums, but they don't resonate with me too much. Aside from the melancholic Hiroshima and hopeful Balfour Hollis, those tracks didn't quite leave a mark. Awakened by a Lonely Feud is their third album.

The album starts off with A Tree Tale, a drone track with a layer of faint acoustic guitar. Quite dark and barren, but nothing new. This is lulling me to sleep though, which is pretty neat. The drone goes on for the rest of the track, which is quite short anyway - 1:35. The next track, Bombshell, is more melodic. It feels quite industrial, with its looming drones and repetitive melody. It's quite the hypnotic track too, I'm getting pretty sleepy from this. Very pleasant ambience - haven't heard a sleep-inducing track like this in a while. Always nice.

Cradles creates a similar atmosphere to Bombshell, but it's less industrial. It's grey nonetheless. It's like you're sitting in a desolate natural piece of land and watching the grass grow. I really like that - it's such a wonderful sight. Go On and Carried Out reminds me strongly of Natural Snow Buildings, with prominently folk sound. It's great, but not spectacular. It does lose the resemblance halfway through, before looping a short melody for the rest of the track. Not too fond of that, but it's not bad.

This is a much calmer album, compared to Solace. Most of the tracks here have this sleep-inducing element for me. Either that, or I'm really really sleepy. It might be the latter, but it's very soothing nonetheless. The ones which aren't necessarily soothing (The Wake) don't quite do it for me - just a nice sound. Can't quite pinpoint the reason why these track are in there. They're a tinge bit too intrusive and does disrupt the flow of the album. The flaw is minor though, so I can't complain too much about it.

Variation is decent. We All Become Regretful and Awakened by a Lonely Feud are kicks back to Solace, resembling tracks like the latter half of Yogen. Atmospheres as a whole are pretty different, though they all have this common trait of being monochrome. As you have guessed, the main thematic is sadness. None of them are as depressing as say, Palmless Prayer / Mass Murder Refrain, but it is quite sad. Its sadness is similar to maybe Cascadia's self-titled EP. Folky, solitary and all in all dark. It's a beautiful sadness. Just the way I like my ambient.

The last track is probably my biggest gripe with the album. It's raining, it's also very crisp. Too crisp, especially compared to the previous ten tracks. It's basically the same piano melody repeated over and over, with rain and natural sounds. It's quite colourful too, albeit a little dark. It just sticks out like a sore thumb, compared to the rest of the album. Doesn't quite help that it's by far the longest track here too, 14 minutes long. It's not necessarily bad, in fact it's decent, but it's just odd. FWS really shouldn't throw a curveball like that.

I didn't have any general problems with the album other than that. Aside from the fact that it goes by the other ear quickly, this is very pleasant ambient. Great for sleep, not so much for regular listening. I don't think I'll listen to this very regularly, because I think I'll doze off at some point. I could imagine myself sleeping to this though, aside from the last track. It's really pretty and not very loud. Probably one of the best albums you can use for sleep. Other than that though, there isn't too much to admire. Unless, you enjoy listening to music that makes you fall asleep.

Flaws aside, it's a great album. Just not an album that I'd listen to when I'm in the midst of something. Probably something that I'd listen to before bed. Not quite comparable to Solace in terms of atmosphere, but quality-wise they're similar. Both have subpar super-long tracks (Ocean M31/This Shirt Makes It Rain), some solid tracks, some okay tracks. Probably fair to give this a similar rating to Solace then.

Album Highlights: Bombshell, Destined
Track Average Rating: 3.36/5
Overall Rating: 7/10
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Coronation of a Cursed King by Techdiff
Techdiff is the breakcore project of Sheffield based musician Dave Forrester. His style of breakcore is quite unique, using breaks as a way to create atmosphere is one thing he does. Very underground and underrated in my opinion, I thought The Black Dog Released EP was quite the solid album. Let's see if his first album, Cornoation of a Cursed King, will be as good if not better.

Bloodlord starts off as pretty dark and looming, with some anime sample that I can't put my finger on. It then progresses to a pretty solid breakcore track, but nothing particularly special. The structure is pretty standard, but at a speed high to make it feel a little unfamiliar. It becomes a little more aggressive at the last minute, but not too face-ripping. Still a nice jam though, just not the most spectacular thing he has done.

Retroduction + Ashen Light reminds me of Sim Stim considerably, which is my favourite track from Techdiff. Atmospheric, stealthy, yet hard-hitting. It's a combination of elements that never fails to amaze me. Though this time, it feels like it's lacking something. While Sim Stim has more emphasis on atmosphere more than anything else, this... doesn't seem to have a prominent element. That does hurt the track considerably, as there's nothing much to enjoy here. It's a little weak, in terms of sound. There are some interesting moments, like the latter half of Ashen Light, but overall it is rather tame. I do want something harder, or at least something more atmospheric. Doesn't quite do as much as I'd want it to.

Tracks as a whole were okay. There aren't any that stood out, but there are some nice tunes. The album as a whole does remind me of Winnipeg is a Frozen Shithole by Venetian Snares, especially the self-titled track. It's nowhere as noisy however, and more atmospheric. I like WiaFS for its noisy component, so this album has to appeal to me with its atmospheres and general sound. I don't think this album accomplished that goal well, unfortunately. Techdiff did try, but it didn't go as well as The Black Dog Released.

The main problem with the album is just how little it does for me. While I think it sounds rather nice for the most part, that's all it has. It's not quite as engaging as The Black Dog Released, or Winnipeg is a Fucking Shithole. There just isn't enough going on to really intrigue me, unfortunately. It just needs a little push in any direction. Anything could probably improve this. A noisier version of this would be sick. A more breathtaking/melodic version of this would be nice. A stealthier version of this would be really nice. Basically any more emphasis on an element of breakcore would make it way better than it already is. It's just too bland at the moment.

Not too fond of this, unfortunately. There's considerable room for improvement. Fortunately Techdiff does improve drastically with his next few albums...

Album Highlights: Ashen Light, Coronation of a Cursed King
Track Average Rating: 3/5
Overall Rating: 6/10

**EzExZeRo7497** · 07-2-2014, 09:30 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

July 2nd, 2014
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The Soccergirl EP by Kid606 (recommended by xVaLoRx)
Miguel Trost de Pedro, or better known as Kid606, is an IDM/breakcore musician. I've listened to one album from him, GQ on the EQ++. It's hard for me to elaborate on the album. I would say that it's very playful, atmospheric and quite detailed. Does it sound familiar? It probably should, especially if you're into IDM. Aphex Twin, Mu-ziq, all those artists have sounds like that. I'm not sure if his sound is the same throughout his entire discography, it probably isn't. The Soccergirl EP is one of his earliest works, dating back to 2000.

Interesting, the album has a peculiar ambient sound to it. Start is an ambient techno track, quite minimal too. There is a recurring piano melody that is distorted so heavily it took me a while to realise that it's actually piano. There are some other layers in it too, but they're not much to talk about. The track is actually physically grating to me, though it's an interesting sound. It just sounds so shrill. Not a very good start.

Defective Boy reminds me of a less detailed and retro version of Ryuichi Sakamoto/Alva Noto's works in the first half. It's like a pixelated river, with glitch sounds sputtering around in the river. It's a little odd, but it's quite the view. The second half is different, I can't quite pinpoint what atmosphere it evokes. It's something, but I prefer the first half more. It does more for me.

This album definitely has a playful element to it. That's really what detracts the album so much for me. Ambience and playfulness aren't really two elements that mix well. In fact, they're elements that should never come together. Unless the ambience is jovial, I suppose. I've never heard ambient that lightens up your day like a happy pop song would though. The fourth track shows this issue very well. It has this particular element of playfulness (or something similar) and some ambience... have to say it doesn't work. These elements clash very badly, almost grating. Had the strongest urge to skip the track, but it ended sooner than I anticipated.

The tracks range from mediocre to decent. The best tracks are more than tolerable, but they don't do much for me personally. For example,Thank You For Being My Angel has a nice sound, but that's it. It just sounds good. Even then, there are other tracks that I'd listen to than this. Something more catchy would be nice. Something more sentimental/cathartic would be nice too. This just... doesn't work as well as it should. The other tracks, aside from Defective Boy, just goes through by my other ear immediately after.

Maybe I'm just being a little too harsh on the album, but I can't see much appeal for this. This EP has two sharply contrasting elements that just doesn't work together. The playfulness rips off all the sentimental/breath-taking parts of ambient, while the ambience tones down the engagement. It fails at both compartments. Maybe if Miguel tried to focus on one particular aspect of the album, it'd be much better. As it is, it's too much of a confused mess. Not really willing to try to untangle the mess either. Sorry Robert, better luck next time.

Album Highlights: Defective Boy, Thank You For Being My Angel
Track Average Rating: 2.33/5
Overall Rating: 4/10
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Behind The Sunset / Scroll by Shingo Nakamura
I'm really tired, and I don't really feel like listening to a full album for a second review. I'll just review something short. Shingo Nakamura is a Japanese progressive house/trance producer signed onto Otographic Music. He has made many singles when he first started off, a total of sixteen. He made a studio album this year, named Days. I thought it was okay. There are some weak moments in the album, but it's decent overall. Going to listen to one of his singles, Behind the Sunset / Scroll.

Behind The Sunset is a pretty bright house track, as you'd expect from the title. It feels as if the sun's brightness is at its peak at the moment. It's very very bright, almost too bright. As the sun begins to go down, the energy of the track starts to rise. The sun eventually goes down, and the track reaches its peak. It becomes very very upbeat, can't help but tap my feet to the kickdrum. It's not quite the style of house I'd like, but it's quite an enjoyable experience nonetheless. It helps that the track is pretty catchy too, it reminds me of one Hiroyuki Oda track that I can't put my finger on. Would want to say... Oceanus? I don't know, the brightness just felt very similar to me. I really like that, it's a nice combination of upliftedness, catchiness and wonder. Main problem for me would be that the first half just felt a little weak. It took a tinge bit too long to catch my attention. Still quite a good track though.

Scroll is not as bright as the former track, but still quite the light. The melodies used are quite different, and unfortunately not as catchy. Nowhere as engaging, as well. It does feel a little more energetic than Behind The Sunset, probably too energetic for me. I can't particularly see a soundscape nor feel anything while listening to this. It just goes by the other way pretty quickly. I don't think the track is bad, it's more on the fact that it's just not my cup of tea. Personal gripes, essentially. I can imagine that the track would be wonderful to most people who are into progressive house. I'm not someone who loves house, unfortunately. A little too hit or miss. This track was quite off the target for me.

Solid attempt. Compared to many other Otographic Music singles I've listened to, this does stand out a bit. Behind the Sunset really made the single. Singles like Airo / Parker, Elegance / Birth, Clear Blue Sky had nothing mindblowing, but this does. Behind the Sunset is probably one of my top 10 favourite Otographic Music tracks. Scroll is pretty subpar, not one of Shingo's best by any means. He has made far better tracks, like most of his work in Days. These two tracks do average out this single to be a "decent" single. I believe that's a fair rating.

Album Highlights: -
Track Average Rating: -
Overall Rating: 6/10

777th album rating, 100th review.

**EzExZeRo7497** · 07-4-2014, 08:50 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

July 4th, 2014
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Little Songs About Raindrops by Lullatone
Lullatone is an ambient (pop) duo from Japan. Their music is characterised as innocent and child-like. Lullatone prefers to call their own music "pajama-pop". Little Songs About Raindrops is their third studio album. I have never listened to Lullatone before, so I have no idea what to expect. I'm slightly anticipating a more mellow Piana (if it's even possible), but I could be way off. We'll see.

Hmm. My Petit Prelude is a lo-fi recording of a music box, quite the fitting title. Yesterday continues this lo-fi sound, but with glitch sounds. It reminds me of Asuna's Flowers a bit, might be thinking of the wrong album though. There's a really really off-pitch voice every now and then, and it bothers me. It's really grating, I just hope that the voice gets better throughout the album.

Wake Up Wake Up is the first long track here, six minutes long. It starts with a serene melody of xylophone (or musicbox), which is really neat. Really captures that child-like atmosphere. The track adds more layers as it progresses. Distorted voices, dreamy synths, field recordings... you get the idea. It's very nice. I wouldn't say that it's particularly soothing, but it's quite... naive and innocent. I feel like a child, stuck in a crib, being fascinated by every little sound in the room. These mish-mash of sounds don't make anything very magical, but it's still nice. It's so odd though, towards the second half there's the occasional cymbal which I thought would clash with the soft melodies. Turns out I was really wrong, it was a nice little layer. Not the best layer, but still good. But anyway, this track is great.

Leaves Falling is more soothing, with acoustic guitar brought in the mix. There's still a xylophone, but the melody is quite minimal. There's a particular IDM-esque beat going in the track, which does clash considerably with the rest of the track. Not too fond of that little bit. The same structure goes on for most of the track, up to the ending. Where it's merely an acoustic guitar melody, with a glitch sound every beat. It was nicer than the part before it.

The album is generally minimal melodies with some glitch elements. Seems to be a thing among Japanese ambient producers. What sets between Lullatone and other ambient glitch producers like Asuna and Ametsub is the emotion. While Asuna created a more synthetic vibe a la Fennesz, this is quite warm and child-like. The latter moreso. I can't really compare this to any album I've listened to, in terms of atmosphere at least. It's a collection of sounds that I feel like I've heard when I was really young. Normally that wouldn't impress me, because nostalgia isn't really my thing. There's this gentle warmth though, almost like a pat on the head, a stroke of the hair. Tracks like Morning Coffee have this. It has this one occasional element (usually a harmonica) which is really warm to me. It keeps me comfortable. I feel like a curious little child with my stuffed teddy bear next to me. It's nice.

The experience throughout is pretty nice. It's a nice change from most ambient albums I listen to. At the same time though, this isn't an album that I'd listen to regularly. It's not very engaging, it doesn't create much of an atmosphere to be in. This album is very lackluster in terms of how it sounds. It's a combination of sounds that somewhat work. It works just enough to create melodies, but not enough to do something more. This applies for most of the album, unfortunately. A Miniature Finale and Wake Up Wake Up are the only exceptions. They do sound nice though, but the memorability isn't quite there. Or at least, not as memorable as I'd like it to be.

Twinkly, innocent and dreamy. This album is honestly very pretty, but it's very flawed. I honestly want to give this a high rating, but there are so many notable issues with the album. I want Lullatone to be more overwhelming with their sound. Tracks like A Miniature Finale did this very well. It's large and overwhelming, but still child-like. It's a great great track - a little disappointed that the same quality wasn't throughout the album. Oh well, it's still a nice listen. Just one that could've been more compelling.

Album Highlights: Wake Up Wake Up, A Miniature Finale
Track Average Rating: 3.22/5
Overall Rating: 6.5/10
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Aeronautics by Masterplan (recommended by L.B.D.D)
That is a sick album cover. Masterplan is a German progressive/melodic power metal band, and Aeronautics is their sophomore studio album. First time listening to Masterplan, though I remember Ji linking a couple of their tracks a few times.

Oh jesus, this is so heavy. Crimson Rider kicks you right in the face with really harsh instrumentation, which is sick. Vocals are very easy to get used to, but it doesn't quite complement the instrumentation. Up to the last minute anyway, then it gets wonderful. Really really catchy, also pretty damn epic. Main issue is that it ends too abruptly though. Otherwise it's pretty solid.

Back For My Life is a ballad, nowhere as heavy as Crimson Rider. When it gets heavy though... it's pretty solid. Vocals generally become a bit too weak compared to the instrumentation though. It especially shows when he's trying to sing fast. Not too fond of that, but there are some shining moments here. Could be better, I suppose. It's not too bad though.

Wounds is pretty formulaic power metal, but it's decent. It reminds me really strongly of Sonata Arctica. It's alright for the most part, then the solo comes in. It becomes very very heavy, very grandiose. Pretty sad to know that it's rather short-lived, though. The rest of the track is decent, just nothing overly special I suppose. I do want something faster when it comes to power metal, and this doesn't fit the bill.

Pretty standard power metal album, I feel. Aside from some harder moments, it doesn't quite stand out from other power metal albums. Demetori has many fantastic tracks (especially in its progression), Nightwish has a symphony... this doesn't have too much. Aside from a couple of louder/heavier moments and variation, it doesn't provide much more than a standard power metal release. Not quite something that I'd go "hey, that's really good" unfortunately.

Even as a power metal release though, I don't think it's a very good one. As I said in my Galneryus review, I feel that the over-the-top energy of power metal is what appeals to me the most. The adrenaline-pumping and testosterone-filled instrumentation and vocals should really have that punch. This doesn't quite do that for me. While I wouldn't call this weak, it sure isn't as strong as it should be. Crimson Rider is a huge punch in the face, but the other tracks didn't quite follow. There are some respectable attempts like Into The Arena, but most of them miss the mark. They seem to be lacking in both the catchiness and strength departments. The album does get better in the latter half, but not by much. It's noticeable enough for me to say that it's better, but it's still not as good as I want it to be. It still doesn't have that grandiose atmosphere, or any catchiness for engagement. The songs here are definitely more structured, but not still good enough I feel.

Just doesn't click with me. There are some gleaming moments here, but they're pretty far and wide. I don't think it's quite worth it to listen through the album to find them. I can imagine this appealing to people who are into progressive metal a lot more than power metal. I'm not a fan of progressive metal. The album just doesn't appeal to me like most power metal albums would, I suppose. Simply not my cup of tea.

And the search for a fantastic power metal album continues...

Album Highlights: Crimson Rider, Into The Arena
Track Average Rating: 2.9/5
Overall Rating: 5.5/10

**EzExZeRo7497** · 07-6-2014, 08:11 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

July 6th, 2014
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IV by Wangwen
Wangwen is a Chinese post-rock band, with influences from Tortoise, Mogwai and Mono. IV is their fifth album. This is my first album from Wangwen, and actually my first album from any Chinese artist. Should be interesting.

Strong Explosions in the Sky vibes from this album. The first track is quite cinematic, ever so slightly depressing with the violin. The track feels quite stationary actually; it doesn't change much. Production is crisp, rather relaxing throughout. I get an oriental flare from it as well, especially at the crescendo. It doesn't quite feel like something EitS would do - but it's similar. It's alright, nothing particularly special. Pretty standard post-rock that doesn't have enough flavour to differentiate itself from the others.

Honestly this could be applied to most of the tracks here, which is why I'm not writing as much as I should. There are some differences between each track - Rust Inside has some field recordings and vocals. It's also a little more sombre than the other tracks. Again though, not very noticeably different. The instrumentation is just as generic as most post-rock goes. It is rather warm and friendly, but so are most post-rock bands that do this. Lowercase Noises, Explosions in the Sky, all that jazz. It does become rather formulaic - most post-rock bands end up being unmemorable this way.

This does lead me to a question regarding post-rock and its musicians. What makes a post-rock band memorable? Most popular bands aside from Explosions in the Sky stand out for various reasons. Mono has earth-shattering crescendos, GY!BE brings in many other elements to the mix, 65daysofstatic brings in elements of electronic, Sigur Ros is particularly sentimental... you get the idea. They either pull off the post-rock formula very well, or just infuse other elements. These are post-rock bands that I would like to find. Post-rock like EitS doesn't quite appeal to me, its melodies and all end up being uninspired and bland. They don't provide any sentimental value, nor anything to take away. Surely enough, most post-rock albums that I've enjoyed stand out from typical post-rock. Having differentiation breathes life to your music, especially in post-rock. I don't mean differentiation by just fusing genres, I also mean trying to make full use of the post-rock formula as well. Wangwen didn't quite accomplish either of the two, unfortunately. At least, not completely.

There are some respectable attempts to differentiate nonetheless. 06M is a very melancholic tune, especially towards the end. It almost felt like it was tugging my heartstrings towards the end, but it was forced. The fifth track brought in elements of jazz into the mix, which is a breath of fresh air. Wouldn't say that it's similar to first wave post-rock a la Talk Talk/Bark Psychosis, though. The EitS influence is still prominent, but the jazzy drums make it ever so slightly dreamier. The sixth track was a little more ambitious, not quite as reserved as the first three tracks. It does bring some more emotion to the music, but not as much as it should. It sounds great though, so I can't dock off that many points.

Essentially the album to me is heavily influenced by uninspired/trite post-rock, but they try to differentiate at points. They aren't necessarily successful with their attempts, but it's still a respectable effort. I just want Wangwen to be more ambitious, more experimental. Their sound is actually pretty good, just not very creative in terms of songwriting. If they decide to be more leftfield with their music, this will be a force to be reckoned with. As it is, I feel as if their potential is restrained significantly.

Album Highlights: 花满都 VS 川味子, 抿嘴谣
Track Average Rating: 3.07/5
Overall Rating: 6/10
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Cowboy Bebop Original Soundtrack by The Seatbelts (recommended by Zageron)
Cowboy Bebop is one of the most successful anime series ever created. It has stood the test of time, and is now hailed as a classic. The soundtrack is made by The Seatbelts, a jazz/bebop band formed by none other than composer Yoko Kanno. Yoko Kanno was one of the biggest and most successful Japanese composers of all time. She's most notably known for making the Ghost in the Shell OSTs. Enough about Yoko Kanno though, let's talk about Cowboy Bebop's OST. This is the first soundtrack.

So I haven't watched Cowboy Bebop, so I'm judging this based on what I'm hearing. Tank! is an incredibly upbeat jazz track. I can't quite describe how I feel about it, but the track definitely feels stylish in a sense. Makes Hiromi's Sonicbloom's work seem like a boring concert. It's filled with so much life and emotion, bobbing your head is probably inevitable. Unfortunately for me it is a little too energetic for me. Too explosive, so to speak. I can appreciate the talent though, just nothing I'd listen to.

Rush is a little less energetic, but still quite the energetic track. Still not feeling it, just not engaging for me this time. The energy levels are fine, though it does get a little excessive at points. Does get a little more interesting in the second half with more subtle instrumentation, but not substantial enough. I like it more than Tank!, though.

There is considerable variation in the album, Spokey Dokey is folk I believe. Not very engaging folk for me, but still okay. Bad Dog No Biscuits brings in ska to the jazzy mix, which is a neat addition. It's very over-the-top, but rather neat. It becomes unbearably catchy at points, too. I can't help but bob my head in the first minute. Space Lion is an atmospheric space-esque progressive jazz track. It even brings in tribal elements halfway through. Was nice.

The variation is probably the only thing I can compliment though. The album is just not very engaging to me. Not very interesting, so to speak. Jazz isn't quite my cup of tea - the album is mainly that. Doesn't quite help that the album is very high in energy, too. Tracks like Tank! are just way too much for me to indulge in. Usually if a track is interesting enough, it's just too energetic for me. I have to get in to a very specific mood to like it. Ones that aren't necessarily energetic (Waltz for Zizi, Car 24) are just bland to me. Doesn't appeal to me in both ways unfortunately.

I honestly don't have much else to talk about the album. I suppose that this is a very accessible jazz album that most people would like. I don't like this album, but I don't dislike it. Rather indifferent about it. None of the tracks are particularly bad, but none of them are good either. It stands rather poorly as a standalone album, but I could imagine it being very complementary with the anime. It is what it is, I guess. It provides background music and more atmosphere for its given material. I can't see myself listening to this again. Just not interested in music like this.

Sorry, it doesn't work for me.

Album Highlights: Piano Black, Memory
Track Average Rating: 2.62/5
Overall Rating: 5/10

**Xayphon** · 07-6-2014, 09:30 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

(no particular order)

TOKiMONSTA - Midnight Menu
Teebs - Collections 01
Teebs - Ardour
JIM - Samouraï Soul
JIM - Short Stories (1)
arai tasuku - Sin of Children (only heard two songs of this, want to know what the whole thing is like)
trog'low - Late Night Travels
Eon Ra - The Path of Ganesha
Monster Rally - Return to Paradise

And just because...

Metrosound - Rhodes
The Avalanches - Since I Left You

**EzExZeRo7497** · 07-6-2014, 10:06 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

I'll add those albums tomorrow.

Well I don't review albums that I've listened to, so I'm not reviewing Rhodes and Since I Left You. I could tell you what I think about the albums though:

Rhodes... I'm actually not sure anymore. It has probably been two years since I've listened to it fully. Different Tool was a really neat little jam. Actually, most of the tracks in the album are pretty nice. Good variation too, ranging from plunderphonics to breakbeat. I haven't rated it on RYM, but I'd give it a 7/10.

Since I Left You is really good, one of the best chillwave (it qualifies) albums I've listened to in a while. I do have some qualms about the album, some of the tracks are pretty weak I feel. They're more than tolerable though, just not substantial enough. Avalanche Rock-Flight Tonight-Close To You-A Different Feeling is a fantastic string of tracks. Kinda disappointed that they didn't manage to keep up the same type of consistency. It's still a solid album though, I initially gave it an 8/10. Hasn't grew on me since though, it's sitting at a 7.5/10 at the moment.

**EzExZeRo7497** · 07-7-2014, 09:48 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

July 7th, 2014
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Promise by Eminence Symphony Orchestra
The Eminence Symphony Orchestra was founded by Hiroaki Yura in 2003, based in Australia. They have made symphonic arrangements for works of Blizzard Entertainment and Joe Hisaishi, essentially large VGM/anime soundtrack producers. Promise is a set of arrangements based on the pieces in Makoto Shinkai's movies. Namely, 5 Centimeters Per Second, She and Her Cat, The Place Promised In Our Early Days and Voices of a Distant Star. I'm quite fond of Tenmon's works, so this caught my interest pretty quickly. Whether this will appeal to me the same way Tenmon did, is something I'm not too sure about.

I'll split my thoughts into 4 separate parts. Starting off with the first three tracks - which are arrangements of pieces from 5cm/s. One More Time, One More Chance is a far more grandiose arrangement than Masayoshi Yamazaki's. It feels a lot more dynamic, it looks much prettier too. However, both tracks can't be compared. Tenmon and Yamazaki's versions of it are far more subtle, but still magical. This is also magical, but in a very different sense. It's very cinematic, reminiscent to most American animated movies actually. Aside from the rather oriental flare, I could see this being used in the likes of Pixar. It's very nice, but I do prefer the original more. I do prefer subtlety over dynamics.

Omoide ha Tooku no Hibi is a longer arrangement of the original piece Tenmon has composed. It is a tinge bit more melancholic than the original, with lower tones being used halfway through. Doesn't appeal to me the same way the original did, but it's still heart-tugging to say the least. Not sure if I prefer the original more, but this is a nice rendition nonetheless. Kanae no Kimochi is essentially the same piece as the one in the original, only with more intricate instrumentation. I like this more than Tenmon's arrangement - and I really like the original off the bat. It does portray a different picture - this seems more magical and dreamy. In contrast to the original, which is more laid-back and serene. The change does make the piece stand out a lot more though, I absolutely adore this.

The Place Promised In Our Early Days is next, six tracks here. I have not listened to the soundtrack for this yet, so I have no point of reference. The main theme does remind me very strongly of Joe Hisaishi, especially with its orchestration. It's neat and all, but I just don't feel the connection to it. The melodies aren't particularly engaging, but they're okay. I do prefer the piano version of this more. Futari no Keikaku / Kibou to Akogare reminds me of a more cinematic Kan Gao. A more complex arrangement of pieces such as Launch, actually. Very high in energy, as if it's trying to raise the energy levels of everyone. It does get a little long-winded (a track that builds energy for 4 minutes isn't necessarily the best), but it changes towards the end. It shows a more depressing side of the piece, but it's still beautiful enough to make you smile of joy at the end. Really nice.

Sayuri reminds me of the original composition of Kanae no Kimochi. Not quite as laid-back, relaxing or subtle unfortunately. Still a great listen nonetheless, just a little replaceable. Futari no Kattou is absolutely heartbreaking, to say the least. It does feel rather formulaic in its approach, but it's barely any consideration in my mind. The formula works, and I feel like crying even though I've never watched the movie before. Incredibly visceral violin, it almost feels as if it's weeping. For some reason that instrument creates a direct passage to my heart. Aside from the piano, there has been no other instrument that has really made me feel strong emotions. The orchestra makes good use of the violin in Kimi no Koe as well, albeit not quite as cathartic.

The last four tracks are based on two short films - Voices of a Distant Star and She And Her Cat. Through The Years and Far Away evokes a yearning atmosphere. While the track is beautiful, I can't help but feel this distance as I listen to the track. A distance from what? I'm not too sure. I can only assume that it's someone that I truly cared about. Not an emotion I'd regularly go through, but it is accompanied with engaging melodies. Moments of loneliness and triumphance keep me on my toes as I listen to it. You know a piece is good if it catches your attention quite considerably. Not too fond of the symphonic arrangement of She And Her Cat, but the piano version is nice. The former is a bit too cinematic for me, it doesn't quite capture anything too magical. Still a decent sound, regardless.

I'll fully admit that I absolutely love depressing/heart-breaking/heart-warming anime soundtracks. Soundscapes/catchiness aren't necessarily what I'm looking for when it comes to soundtracks. I want more of an emotional connection. This album established this connection very well. While I obviously can't say that the album is consistently good, it does a good job at being engaging and visceral. It really puts the pieces Tenmon has made under a different light. Eminence Symphony Orchestra twisted and modified the pieces in a way that it makes the tracks feel quite different from their original counterparts. Usually for the better. It is able to evoke emotions that the original pieces couldn't - which is quite a feat. It is good enough if you're able to best the original in terms of quality. However outdoing the original by doing something quite different... is quite impressive. The orchestra did this very well, and I have to commend them for that.

There's only two flaws I can think of when it comes to this album. First off, there are some weaker tracks. She And Her Cat's theme is rather weak in comparison to the others, but it's more than tolerable. The other flaw is that I have to get in a particular mood to really like this album. Fortunately, I do get in the mood rather easily, so nothing much to complain there. Flaws aside, there's really no reason not to get this album if you're into emotional anime soundtracks. While I can't say that it's one of the best soundtracks I've listened to, it's still solid. It has variation, a lot of emotion and it's simply beautiful. If you like Joe Hisaishi, Tenmon (of course), any artist from Key Sounds Label, get this. It will be a ride you will never forget. I know I won't, I'll probably be listening to this more in the future. Probably going to skip a few tracks though... which is why I'm not giving it as high of a rating as I'd like to. Regardless, phenomenal album.

Album Highlights: Kanae no Kimochi, Futari no Kattou, Omoide ha Tooku no Hibi
Track Average Rating: 3.73/5
Overall Rating: 8/10

**EzExZeRo7497** · 07-10-2014, 09:17 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

Shoutouts to FFR being down yesterday when I had time to review albums.

July 9th, 2014
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Zatracenie by Matryoshka
Matryoshka is a Japanese ambient/downtempo/trip-hop duo. People have described their music style as a fusion of post-rock, ambience, contemporary classical and hazy vocals. I have listened to Matryoshka before, and I can agree for the most part. I don't quite hear the post-rock component, but the other elements are there. Zatracenie is their debut studio album.

Sink Into The Sin is trip-hop with ambience, which is pretty standard for Matryoshka. The best artist I could compare it to is Ferri, another Japanese contemporary whom produces very similar music. Even then though, the comparison is a little far-fetched. Ferri is a lot more ethereal, this is mainly abstract. Pretty, but it doesn't catch my interest. It's not bad, in fact it's rather atmospheric. It's just not my cup of tea. It just feels like it's there the whole time at a distance. Not really the best way to start off an album.

Slowsnow is darker and colder, true to its name. It reminds me very strongly of a winter night, actually. Not an unforgiving one, in fact one that's quite warm. It does appear to be bitter at points, but there's this warmth inside that is really intriguing. Never really had a track with such a personality, this is interesting.

Viridian is a cross between Ferri's sound, Piana's Muse with more glitch. It's pretty odd, but not in a compelling way. It's just pretty, nothing else I could really say about it. It does have some nice melodies here and there, but not enough for me to like the track as a whole. Same problems as Sink Into The Sin, I guess.

The general recurring themes are dreaminess and abstractism. Sometimes a combination of the two. Did they achieve any of the two atmospheres I've mentioned in any of the tracks? Not really. I could feel some dreaminess here and there, likewise with abstractism, but nothing overly prominent. These melodies are indeed beautiful, but only on a superficial level. They just don't go much deeper than just a pretty sound. The only two tracks that do it for me are Tyrant's Miniature Garden and Slowsnow. The former starts off quite depressing and defeated, but towards the second half it explodes of joy - almost triumphantly. A wonderful aural treat. Shame that the other tracks don't have the same level of catharsis.

Doesn't quite help that the songs sound quite similar too. It almost becomes formulaic, starting with a pretty atmosphere and later toss some nice melodies. Normally that'd be great, but I don't think Matryoshka managed to execute the formula successfully. It's usually lacking in emotion and/or lackluster as a whole. There are some oddballs when it comes to the melodies, such as Ezekiel, but it ends up being lackluster like the other tracks. Usually, more so.

I'm not saying that this is a mediocre album though, it's just not very appealing compared to similar artists like Piana and Ferri. It is VERY pretty and there are some good tracks here. Anyone who is into dreamy music or Japanese ambient in general would like this, at least slightly. It's just that I've heard better albums - in dreaminess, catchiness and overall quality. Ephemeral, A Broken Carousel, Laideronnette and a few other albums come to mind. This is generally replaceable in this aspect.

But yeah, decent album, but there are far better albums in the given genre. I feel that their later album, Laideronnette is a lot more refined. It sticks to one idea (dreaminess) and it doesn't seem to falter in quality nor stick to a general template for the most part. But still, Zatracenie is worth getting if you're into dreamy/trippy ambient. It might be the album for you. I know it isn't for me, but it's a respectable attempt regardless.

Album Highlights: Slowsnow, Tyrant's Miniature Garden
Track Average Rating: 3.2/5
Overall Rating: 6/10
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Return to Paradise by Monster Rally (recommended by Xayphon)
Monster Rally is the brainchild of American chillwave musician Ted Feighan. His chillwave style is generally tropical, almost exotic. He combines genres like soul and plunderphonics to create his sound, an interesting one at that. Return to Paradise is his latest LP.

It's so odd to describe his music. As I mentioned before, it is a tropical and exotic sound. I'm not sure how to elaborate on it, but if you listen to tracks like Orchids, you'd get what I mean. Tracks like Barefoot / Eyes also has this tropical flare as well, can't help but think of Hawaii and all when I listen to the first half. Not necessarily engaging in the beats section, but the visions are interesting. Second half is pretty neat. There are some jewels here, like Palm Village and Baja Samba. Palm Village is a nice mixture of catchiness, nostalgia and uniqueness - which is great. Palm Village feels a little cartoonish - quite entertaining. It's also a little sombre too, though. First chillwave track that I've heard that was sombre, this is pretty interesting.

Most chillwave releases have the same problems - they have too many tracks and too little substance. This album does have those issues. The tracks are generally under 2.5 minutes, which is pretty short. It has eighteen tracks as well, so it's a bit difficult for me to orientate myself to different tracks. The tracks are just a little unsubstantial - they just don't provide enough to be memorable. Even without extending the tracks, they could still be catchy. Teams vs. Star Slinger's Close to Me is my favourite chillwave track - incredibly mesmerising and catchy. It's a little over a hundred seconds long, so it does show that short tracks could be amazing too. This album doesn't really have much catchiness or substance for me. There are even some occasions where there were great moments but were ruined by abrupt changes in atmosphere. Barefoot / Eyes and Roses are victims of this.

Sound is really authentic. I do dig his unique style of chillwave. Combining exotica with instrumental hip-hop is really nice, though not all of his attempts work. I have to respect him for that, it's really not like any chillwave I've listened to before. It gives these tracks quite different personalities from their typical chillwave counterparts. So different that I'm actually no longer familiar with the sound. I'm too used to the typical sound of chillwave. Maybe that's why I don't like it as much I should - I couldn't quite form thoughts when I listened to this. I was still trying to familiarise myself to his sound.

I could see this album as a grower. The album didn't click with me as well as Since I Left You or Teams vs. Star Slinger, but it's decent nonetheless. Generally laid-back, with a tropical twist which is hit or miss. There are some times when I wish that the tropical elements were less prominent, and the other way round. The latter moreso though, so I'd say the addition is a plus - no pun intended. Recommended for anyone into chillwave, this does stand out considerably. I'll have to give this a few more spins to appreciate this more, though. As it is, it's alright. Not the worst I've heard, but it's most certainly not the best either.

Album Highlights: Baja Samba, Palm Village, Tropical Showers
Track Average Rating: 3.09/5
Overall Rating: 6/10

**EzExZeRo7497** · 07-10-2014, 09:17 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

July 10th, 2014
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Dream Tempest by 36
Meet Dennis Huddleston - an ambient musician hailing from the United Kingdom. Most people know him as 36. Fairly prolific, he has made a total of 11 albums (including EPs) over five years. Dream Tempest is his latest work, just released yesterday actually. I'm no stranger to 36's music - in fact he is one of my favourite ambient producers. While he is no Thomas Koner or William Basinski, he certainly has what makes ambient so wonderful. He seems to be a jack of all trades as well, from the innocent Hypersona, the pitch-black Lithea to the ethereal Memories in Widescreen. All of the albums I've mentioned clicked with me very well - and I personally find them excellent. While I'm not too fond of his latest album (and his style change as a whole), his work is still memorable. Dream Tempest is to him, his most optimistic work, with a tinge of melancholy he can't shake off from his music.

The album starts off with the playful yet astral Dream Tempest. Dennis does introduce a sound that has never been used in any of his works - a high-pitched synth melody. It appears to be rotating back and forth, which is interesting. However, I can't say that I find that element particularly interesting. It's a little detrimental, more than anything else. Fortunately, the track does make up for it with layers of ambience. It reminds me of a much darker Hypersona, actually. It is quite a pleasant listen, but not the best. The track isn't quite overwhelming. I feel that a track like this would be better if it's overwhelming.

Neon Sunset sounds exactly how you'd imagine it to be. A little synth melody that gives direction to the music - music that reminds me of... sunset. It's relaxing, the atmosphere is pretty nice. The ambience here does complement it slightly, creating this night sky - which does sound hypocritical. It does seem like that though, a sun that really shouldn't be there sinking to the black abyss. Again, pleasant listen - but not the best. The problem with this track is that it's not quite engaging. It is a pretty sight for sure, but it doesn't provide anything deeper.

Sun Riders reminds me very strongly with Dennis' work in Shadow Play. Particularly tracks like Dangerous Days. It's purely ambience - no additional melodies whatsoever. I feel as if the simplicity is what makes his music so beautiful sometimes. While it does leave a lot of ambiguity, it gives me comfort. There's a lot of space to float in, I could just sit back and feel at peace while listening to this. No additional layers of music, just drones on top of another. Ambient at its purest - and also its most cathartic.

Dennis isn't lying when he said that this is his most optimistic work. Tracks like Airglow and Play are nothing short of jovial, but there's a tinge of sadness. It's more prominent in the latter. Airglow is a very bright track, arguably one of his brightest works to date. The melody is pretty similar to Dangerous Days, but it's much shorter. Doesn't quite do it for me, it's too bright. Not the type of ambient that I particularly like.

Most of his old sounds are prominent here, though Shadow Play is arguably the most prominent. Sounds from Lithea and Hypersona can definitely be heard here though, especially in tracks like Tired. In addition to his older sound, he does bring in some experimentation to the mix. This is arguably his most experimental album to date, but it's not saying much. His most experimental track is Hyperbox, an incredibly playful work. Continuous melodies from a music box, a recurring melody - all sounds he has never used. It's not really ambient at that point, but the label doesn't matter. Not fond of this by any means, too playful. Coming a close second in experimentation is Perfect Numbers - a combination of number station broadcast samples and IDM. Not necessarily ambient, but interesting nonetheless.

Have to admit that none of the first nine tracks aside from Sun Riders has fazed me though. I'm just not used to his form of experimentation, or the tracks were underwhelming. Just when I thought that the album was rather weak for 36, he pulls one last trick up his sleeve. He really did save the best for last, because the last three tracks are some of his best in years. Redshift takes the minimalistic beauty of Sun Riders and adds layers of overwhelming drones. While it does sound juxtapository on paper, the drones actually blend in very well. It does take on a different life compared to Sun Riders, but the catharsis is most definitely there. In fact, it now has this shade of wonder which I'm really intrigued by. The album ends off with Entropy, an optimistic and bright drone with very clear shades of bleakness. I feel as if it does sum up the album as a whole, minus the experimental bits. It's solid - it appeals to me in a way that Sun Riders does.

Always is my favourite track here. It starts off with a pristine drone, with the innocence of Hypersona and the clarity of Shadow Play. Not particularly impressive... but it just explodes three minutes in. The sound just becomes absolutely overwhelming and noisy, combining melancholy and beauty in a way that Dennis has never done before. The overwhelming drones remind me of October Language/Memories in Widescreen, particularly Remove the Inside or After Time. While the sound is heavy, it sure doesn't feel that way. This track also has the light-weightedness of Hypersona - which complements the atmosphere well. It's so hard to describe it, it's like floating in a sea of noise. There aren't many tracks like this - but most of them have this cleansing effect on me that I always want in music. This track is no exception, simply exquisite.

While I'm not disappointed with the release (in fact I found it great), it leaves quite a bit to be desired. It still has that catharsis that we all know and love. It's just not as prominent here. I really want 36 to tone down the experimentation, more than anything else. I understand that he's trying to do something different here, but the elements clash more than complement. He seems to be more ambitious in this album as well, perhaps a little too ambitious. Maybe it's just me not being used to this change, but I just don't feel it. His simplicity and minimalism is what made some of his works beautiful. Wraith, Another World, Home, Nephyr... all tracks that are great because of simplicity. His newer works (Shadow Play and onwards) generally don't have that charm. The tracks feel more layered than his other works. Not too fond of that, but some of them still click. Just not as much of a proportion as it used to.

Nothing else I could say about it. It's a great album. Sure, there are some weak tracks like Hyperbox and Perfect Numbers, but there are some solid tracks here as well. The good does outweigh the bad, so I'm leaning towards a higher rating. Putting this album as the same level as Hypersona, Lithea or MiW would be silly. The weaker tracks do bog down the rating quite a bit. I'd say it's around the same level as Shadow Play. I gave that one a 7.5, so I think this should too.

Album Highlights: Always, Sun Riders, Redshift, Entropy
Track Average Rating: 3.67/5
Overall Rating: 7.5/10
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Like Flies on Sherbert by Alex Chilton (recommended by rayword45)
Alex Chilton is an American songwriter and guitarist, most notably known for his contributions for power pop band Big Star. I don't know much about Big Star, but I know that they are pretty well acclaimed. Like Flies on Sherbert is Alex Chilton's second solo album - mainly garage rock.

Incredibly unfamiliar with genres like this. Will just go through a train of thought I guess.

1. Boogie Shoes is the weirdest thing. So eccentric and goofy, in all its cheesiness too. The distortion part at the end was funny, pretty sloppy. I don't quite get the energy here - it's just silly. Probably too level-headed for music like this.
2. My Rival isn't as eccentric as Boogie Shoes... but it's still goofy. The vocals are contrasting with the instrumentation pretty badly. Not a fan of that at all. It's so weird... what the fuck. The solo is okay, it hurts my ears a bit though.
3. Hey Little Child is mediocre at best - just boring. The vocal entrances just feel sloppy at times, it drives my OCD nuts. Instrumentation isn't compelling, the vocals are pretty boring. What's with the random piano in the background just now? Why are you doing this to me Alex Chilton?
4. Hook or Crook is actually okay. Vocals are unenthusiastic, but still tolerable. The instrumentation is pretty catchy, but not the best thing in the world. That solo is unnecessary though, the intro of it was so loud. Not to mention it was short, I didn't see the point of that.
5. I've Had It. Huh. Not sure what to think of this. The vocals are pretty damn weird - not a fan of that. Instrumentals have their cheesiness cranked up to a deafening volume. It actually becomes so cheesy it's decent tier. Just decent though - I don't think this is very good overall.
6. Actually had to skip Rock Hard. That was pretty bad.
7. What song is this? Girl After Girl. Oh, oh. *instrumentation plays*
8. ???????????????????????????????????
9. Those lyrics are so dumb, jeeeeesus. Instrumentation is pretty whimsical, not sure what to think of that. I think it's alright, I guess. The vocals though... man. Are the vocals supposed to be an impression of Elvis? They definitely sound like Elvis, anyway. If it was a parody, that's alright I guess. It's still bad.
10. I don't really have anything to write for Waltz Across Texas. It's something. Next track.
11. Tell me when to start. *instrumentation plays*
12. ??????????????????????????????????
13. I think at this point I just think that this album is not for me. I think I'll stop writing my train of thought. I'd be repeating the same things over and over again.

Sigh. So, this album is a mess. It's sloppy, it's disjointed, but it's pretty clear that it's intentional. I'm just really not sure on how to listen to this. Are you supposed to get really drunk and listen to this? Are you supposed to blast this ironically? It IS a very eccentric album, but it's so disorderly and ditzy it drives me nuts. None of the tracks really stood out as great, whether in a weird way or not. Couldn't tell if some of the tracks were supposed to be enjoyed ironically or not. There are some people who said that it is a compelling mess, but I don't see it. It's just mediocre, ironically or unironically. There are some catchy moments here and there, sure. It's just that the moments are too sparse for the album to be worth listening to. The album as a whole is just nearly everything I dislike about classic pop rock and more. Just don't see the appeal, honestly.

Maybe I'm being a little too serious or level-headed with an album like this. I just... don't understand how anyone would consider this a masterpiece. If this album is supposed to be someone fooling around in the studio, I just don't think it's very funny. Props to Alex for releasing this though - takes some courage to release something this messy. Maybe someone would find enjoyment in something so messy. I know I won't, I'm way too orderly of a person for that.

tl;dr Too deep for me. Sorry rayword.

Album Highlights: Hook or Crook
Track Average Rating: -
Overall Rating: 3.5/10

**choof** · 07-11-2014, 03:11 PM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

ctrl+f hyperbox
not nearly as mad I as I expected

I'm diggin the experimentation on Dream Tempest, tons of new textures. I have a feeling this is a transition album of sorts, the transformation of sound from Hypersona to Lithea is nuts, and I think this is going to be the Hypersona in this new direction of ambient.

Neon Sunset though, that guitar lick asdfkdjlakjh

**rayword45** · 07-11-2014, 03:30 PM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

Yeah Like Flies on Sherbet is deliberately terrible, which is basically the appeal. Definitely an album that one out of a few hundred will enjoy.

**EzExZeRo7497** · 07-12-2014, 09:53 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

365 albums is just not happening. 250 is probably a far more realistic number.

July 12th, 2014
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bloweyelashwish by lovesliescrushing
Lovesliescrushing is an American shoegazer band. While they are compared to the likes of MBV and Cocteau Twins, their sound definitely stands out from the crowd. Aside from the typical shoegaze elements like soft vocals and distortion, they add layers of sound to create a dense wall. Not really something MBV would do by any means. bloweyelashwish is their debut album.

Really really dense. Babysbreath has incredibly heavy instrumentation, almost soothing. Feedback reminds me of October Language, actually. I could sleep to this. It's not quite shoegaze with vocals though, and there are soft vocals here. Honestly the elements clash horrendously. Not sure if it's because of the lo-fi sound of distortion, it's just that the vocals are too ethereal. Fortunately the vocals aren't quite common in this track. There is one part that I can't quite name that's bothering me though - ruins the ambience of the track.

Iwantyou is yet another heavy and distorted track. Instead of reminding me of October Language however, it reminds me of hana sumai's Growing Pains. That, and a shitload of distortion. Way way too much at this point, it becomes clunky. Vocals don't quite help complement the track either, they're just there the entire time.

This is most definitely shoegaze, but man. You really can't call it just shoegaze, there's elements of noise and drone here. It reminds me of multiple shoegaze/drone albums, but this... doesn't quite make the mark. Dizzy for example, reminds me of The Door Opens The Other Way by Belong, but far less cathartic. While slightly mesmerising, it's too short and doesn't do enough. I'm not sure if it's just the lo-fi recording or not though. I just don't think it's as overwhelming as it should. I could say the same for almost every track here. Some of these tracks are a little scary, but that's really it. They don't provide much else.

Oh, there's some mainly noise tracks here. Burst is pretty noisy, but with some drone elements. Not quite comparable to the likes of Tim Hecker, however. It just feels very lackluster. Pick any low-pitched noise track and typical shoegaze/drone, you'll end up with something like Burst. While it's still pleasant, it's incredibly replaceable. I don't really get or feel anything while listening to this. While shoegaze isn't a genre that I'd get catharsis from, this really isn't a shoegaze album. It's better to view this as a drone/noise album.

There's a lot of things I could talk about the album, but I think it'd be better for me to sum my main thoughts in two paragraphs. It's decent, but nowhere as spectacular as I'd want it to be. Drone, noise and shoegaze are all genres that create wonderful soundscapes. Combining all of them seems like a match made in heaven, and it really is. October Language is my personal favourite album, and it's a mixture of the three mentioned. Growing Pains has also those genres too - though mainly shoegaze and drone. That used to be in my top 10 albums. Bloweyelashwish... doesn't quite hit me the same way October Language or Growing Pains does. It just feels incredibly underwhelming. Both in sound, and in emotion.

Why is Bloweyelashwish nowhere as good as October Language or Growing Pains, you might ask? Other than the incredibly horrendous production, the tracks seem disorganised and messy. They feel like tracks that didn't take much time to compose - multiple shots in the dark. There are some good tracks, but they're quite a rarity here. Most of the tracks just solely have a superficial level of beauty. Either that, or they're grating on the ears. Both of which aren't very positive descriptions of tracks. I would sleep to this because it's so pleasant, but there are some parts that I just can't sleep to. They're too high-pitched.

I'm not going to call this terrible because it really isn't. If I've never listened to October Language, Growing Pains or pretty much any shoegazy drone album, I'd probably give it a 7.5. A 7, at least. It's a pleasant sound that I'd instantly fall in love with because of how different it is. My love for breakcore and IDM (noise) and serene soundscapes (ambient) finally came together to form this... massive wall of sound. Grandiose, but also detailed in texture. While I still have an opinion like that... I just can't think as highly as I would. October Language has outperformed this album in multiple ways. While comparing my favourite album to an album like this seems far-fetched, it's the best comparison compared to everything else I've listened to. This just... doesn't quite make as much of a mark as I'd like it to. You could say that I'm disappointed, I guess. No big deal though - I heard their next album is way better. Maybe I'll get to that one day.

Also, those track titles are terrible. What the hell man.

Album Highlights: Moinaexquisitewallflower, Youreyesimmaculate, Halo
Track Average Rating: 2.72/5
Overall Rating: 5/10
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Space Eagle (The Motion Picture Soundtrack) by Alaska in Winter (recommended by _.Spitfire._)
Do you know a couple of albums/soundtracks to movies that don't exist? Soundtracks for the Blind, My Downfall, all that jazz. Alaska in Winter has also produced a soundtrack for a film that doesn't exist - Space Eagle. Apparently the movie was supposed to be out in 1986 - the album was originally available on cassette back then.

I actually... have no idea how to talk about this album. The entire album has this retro feel to it, more than anything else. Not particularly surprising, considering the fact that the soundtrack is complementing an 80s movie. Pretty spacey too. Crystal Tears is a sombre track, with soft vocals in the background. Despite the incredibly upbeat spacey atmosphere, I can't quite help but feel this sadness as I listen to this. It's like a feeling of isolation, more than anything else. Pretty nice.

While Crystal Tears is a depressing lonely track, Space Eagle evokes a completely different mood. I can't pinpoint what specifically, but it reminds me more of adventure more than loneliness. The synth melodies and kickdrum does keep the energy constantly high throughout the track. It's pretty neat, though the vocals do take some time to get used to. I was pretty startled by the very low hums at one point. Not particularly bad, but I do prefer a different voice.

Can't help but think of all of the space invader-esque games I've played years ago. The tracks here remind me of that, though this is a lot flashier. Variation as a whole is quite commendable. We have the desolate Crystal Tears, the adventurous Space Eagle. We also have tracks of wonder/awe like Night Falcon Returns - generally upbeat but also majestic. There's also just overall energetic tracks, like Airwolfe (in Miami). Most of these tracks are decent, but not anything overly great.

That brings me to what I feel about the album overall. While I don't think the tracks are bad by any means, they certainly aren't mindblowing. Given, tracks like these aren't my cup of tea. Track like these usually sound a little bit too dated for me. This manages to break out of that "dated" barrier, but not quite enough for me to say that these tracks are fantastic. There are some great tracks here though like Castle in the Sky, but again, nothing too special. Just doesn't do much for me.

That's really the only thing I could complain about though. I keep forgetting that this is a soundtrack, kept thinking of this OST as if it's an album on venturing through space. Probably a good thing. It is pretty interesting - a travel through space in a rather vintage/retro way. It is a breathe of fresh air, as I don't really listen to music like that. Though, I can't quite see myself returning to this again. At least, not on a regular basis. Travelling through space isn't quite an atmosphere I'd indulge in regularly. This album is a pretty odd experience, though it feels all so familiar. Rather nostalgic, more than anything else. Regardless though, I did like the experience. Some good tracks here and there, and no mediocre ones. All it needs is a little push in any direction (emotion, catchiness, etc.), and it'd probably be a lot better.

Album Highlights: Digital Angel of Death, Castle in the Sky, Crystal Tears
Track Average Rating: 3.14/5
Overall Rating: 6/10

**choof** · 07-12-2014, 10:35 PM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

I'm not entirely sure I agree with your review of bloweyelashwish, solely because you compared it to October Language.

While I definitely agree that Belong took what loveliescrushing did and made it better, you have to keep in mind that bloweyelashwish came out in 1994, and October Language came out in 2006. 12 years is a huge amount of time, especially when it comes to the same genre of music.

**EzExZeRo7497** · 07-13-2014, 09:26 AM

Re: An Album A Day Keeps The Doctor Away | 365 Album Challenge

July 13th, 2014
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Autumn Interlude EP by Amethystium
�ystein Ramfjord, better known as Amethystium, is a Norwegian new age musician. I've heard some of his works before, but never a complete EP or album. His style of new age is pretty different from the likes from Bryan EL - more tribal in his approach. Quite interesting sounds, basically. Autumn Interlude is his very first album - an EP with only five tracks.

I can describe his work as otherworldly and ethereal, as well. For example, Ilona is quite surreal - with its dreamy landscapes. Rather rich in landscape as well, very very dreamy. I feel like I'm floating, but there's some substantial weight to it. Particularly because of the beat going on. It does clash with the dreamy landscapes at points, though. It doesn't make it sound grating, but the part of the effect is definitely lost. It's decent though, but it could be better. That hard-hitting beat has to go.

Arcane Voices is a very techno-influenced new age track, with Gregorian chant samples. It does sound considerably different from the one in his studio albums, though. Not too big of a deal - just a small gripe. Very meditative actually - also quite rich in atmosphere. Could listen to this on repeat for a very long time, especially when I'm doing homework. My main problem is that it's too short, but it could be fixed with the repeat feature. Very good track, quite engaging and light.

The entire album is essentially like Ilona and Arcane Voices. Some are better than others, some aren't. It's a pleasant combination of new age synths, ethereal wave and folk music. Nothing in particular that catches my attention, but it's nice. These tracks are admittedly a little bit too short to really be engaged with. While yes, four minutes is pretty long for most songs, new age is ultimately ambient. I feel that ambient music is almost always more engaging at a longer length. It doesn't have to be as long as The Disintegration Loops, but seven to eight minutes is usually substantial. Half of that... you really need something impressive. These tracks... aren't particularly impressive. They're definitely good, but they're missing something. Take Meadowland for example, it's not really relaxing at that point. The synthesizer is a little too prominent, the beat is a little too high-pitched. Doesn't quite that the beat is in the foreground, while everything else is in the background. Not terrible, but definitely not very pleasant.

Not much else I can talk about - I'm also really tired so I can't write much. It's basically new age doing its thing, really. It's not very memorable, but it's relaxing and uplifting. While Amethystium definitely put a different spin on it, it doesn't quite differentiate himself from the typical new age crowd. It does suffer from the same issues that most new age tracks have - it's just pretty. It's not particularly cathartic, though it is catchy at some bits. I just want more depth in his music - like most good ambient artists. He definitely has potential - he just needs more consideration in the emotional/texture department.

Album Highlights: Arcane Voices
Track Average Rating: 3.1/5
Overall Rating: 6/10

An Album A Day Keeps The Doctor Away | 365 Album Challenge

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