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

[EzExZeRo7497]

Peace of Mind is one of the better tracks, but that's not really saying much. It's probably the second best track in the album though, first being More Than A Feeling.

May 24th, 2014
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Blake by Lowercase Noises
Lowercase Noises is the project of American musician Andy Othling. Contrary to the artist name, Andy does not make either lowercase or noise. Instead, he makes post-rock with very strong ambient influences. Blake (along with Vivian) are albums dedicated to their expected children. I'm personally not sure if I can think too positively of Lowercase Noises, though. Ambient Songs is a wonderful album, despite its lack of coherency (it's essentially a compilation of tracks). On the other hand, his other albums like Carry Us All Away feel generic and uninspiring. It just feels like it's been done before, more than anything else.

Will You Catch Me If I Blow Away is split into two tracks, Part 1 and Part 2. Part 1 is pre-dominantly ambient, and it's quite warm too. It's actually around the same feeling I get from Engaged Touches from Celer. If not, it's like the feeling of someone protecting you. I'm not sure who, but it feels more paternal/maternal more than anything else. Not bad, but the feeling I get is quite thin. The textures aren't really there, but it slightly works.

Part 2 is a little less conservative, with more prominent guitars. It's more towards post-rock than ambient this time round. It's a little odd to listen to, although I've listened to many post-rock projects like this. The thing about Lowercase Noises' music is that it generally has that warmth to it that I can't put my finger on for the most part. Other than the first track of Blake, I've never been able to explain what atmosphere it's trying to portray. The atmosphere does become clearer 4 minutes in, with the Sun just shining right at my face. I feel like I'm in the middle of the beach, just watching the Sun move from dusk to dawn. It's actually... quite beautiful. I feel welcomed here. It's like they've been waiting for me. I could probably stay here forever.

There's no denying that the atmospheres Andy evoke are beautiful. However, it does feel a little uninspired. It's something that I've seen time and time again, I eventually want something different. The longest track - The Windows of You, feels completely aimless. The first and second tracks have accomplished much more in their shorter lengths than this. It's fine to have a generic atmosphere, it's just that it won't be that memorable. But to be generic AND aimless, is a different story altogether. But I digress. The album as a whole just seems unmemorable. The album is too safe - too little experimentation. Actually, I don't think I've actually heard a single LN album that's rather experimental. Most of them tend to create the same sound, maybe with a denser/dreamier atmosphere. I think he could do a lot better if he makes his sound more... explosive or bleaker. I've honestly wished that there was more the entire album. Not that it says much though, the album is actually quite short. 5 tracks long, total of 30 minutes.

In conclusion, beautiful sounds but too cookie-cutter. It leaves a lot more to be desired, honestly. Almost as predictable as Explosions in the Sky, if not slightly more so. Lowercase Noises does bring in quite a couple of emotional aspects though, which is a plus. Unfortunately, it's not enough for me to hold my attention. Andy could do a lot more with this album than just typical emotional post-rock. Neat dedication, but nothing special.

Album Highlights: Will You Catch Me If I Blow Away (Part 2)
Track Average Rating: 2.7/5
Overall Rating: 5/10
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Polarize EP by Seven Lions (recommended by Coolboyrulez0)
EDM. Seven Lions is the brostep/complextro/drum and bass project of Jeff Montalvo. Polarize is his first EP. It's hard for me to talk about genres like these because I don't listen to them at all. I've been too busy listening to IDM and ambient and all, but I forget about the more accessible part of electronic music. So, I'm a little uncertain how to review music like this.

This album is essentially 4 tracks, along with 2 remixes. Below Us is a bit of an atmospheric track, with the dreamy vocals and drop in the background. The drop is a little prominent here, but I don't think it's really in the forefront. The vocals and drop actually compliment each other well. The second half is kinda neat, with its breakdown and all. It feels a little too flashy though, so I didn't really enjoy it. The track doesn't provide anything else, other than that. Have to say though, it's not bad. I wouldn't listen to it again if I had the chance, but I wouldn't mind listening to it if it was playing. The drum and bass remix isn't as atmospheric. In fact, it's considerably worse than the original. Maybe I just find DnB as a whole a bit of a hilarious genre, with its signature kick, snare, kick-snare sequence. The track isn't really catchy, it just feels like music made for a rave more than anything else. It's just too bland for me to like.

Tyven is more complextro more than anything else. It starts off atmospheric, then takes a more aggressive approach. The build-up is pretty sudden and hits right you in the face quick. Its variation is actually quite good, the rapid changes in atmosphere are a nice touch too. It becomes a little too upbeat for me to like in the last two minutes, but I could see others liking this. Just not my cup of tea. It's alright, I just wouldn't listen to it again.

Polarized is more hard hitting. Far more aggressive than the previous tracks I've mentioned, and I think it works well. The drop and vocals still aren't as forefrontal, but it fits. If it becomes the center of the track, it becomes too prominent. It's quite catchy as well, which is always a plus. Especially for EDM. The breakdown is wonderful, it really shines in comparison to the rest of the album. I like this, but it's a little too short. The extended mix doesn't quite do it justice. It just adds filler instead of the elements that made Polarized great. It's alright though, but I'd much rather listen to the original mix.

Isis is quite different from the other tracks. The sampling is a lot more tribal and the drop is in the center this time. A little too overwhelming for me at this point. The samples in the background create this odd atmosphere though, it's futuristic yet so foreign to me. I would really like this atmosphere to develop though, but the drop is too much. It's too powerful, it destroys most of the progression the tribal sampling had. Can't say that I like this one, although some of the sounds here are neat.

For EDM standards, this is a good EP. It's varied, although not all of the tracks are ones that I like. I could see many people who are into EDM to really like this since there's so much variation here. It's probably one of the most accessible albums too, since the energy variation here is very good. Unfortunately genres like these aren't my cup of tea, so I can't say that I've enjoyed listening to it throughout. I really have to be in the mood to like albums like these, and I'm rarely in that type of mood. It's a respectable attempt, however. Seven Lions did a good job.

Album Highlights: Polarized, Below Us
Track Average Rating: 2.75/5
Overall Rating: 5.5/10

[rushyrulz]

Originally Posted by EzExZeRo7497

Boston is a classic rock band from well, Boston. From I've read, Boston is a bit of a one-hit wonder. Boston is their most successful album, and their other albums seem to be rather weak in comparison. Their self-titled album, seems to be generally hard rock.

Before I start, let me just say that I have a pretty strong distaste for "classic" rock. Most of them seem to be too trite, too slapstick. These songs haven't really aged well, they just become too bland overall. Of course there are a few songs that stand out (I still like RHCP quite a bit), but they're pretty far and wide. It's not really something that I'd listen to, mainly because I feel that the main enjoyment comes from nostalgia. Another interpretation of "I'm born in the wrong generation", basically. It's also the reason why Gamma is recommending me Pantera. Fuck you Gamma.

Sigh. Anyway, More Than A Feeling is actually quite nice. At least, for hard rock standards. It's a bit cliche with its generic "boy meets girl" lyrics, but it's honestly not bad. It's catchy and it's a very fun tune. Not really something that I'd like, but I could see why many others would like this. Most of the other tracks don't do much for me, they're too unmemorable. Even if they're memorable, they're usually too cheesy. Seems to be a problem with hard rock, honestly. I'm guessing you're supposed to like music like this just like how you like power metal. Unfortunately neither genre are my cup of tea.

Yeah... I'm at the fifth track and I'm still feeling this way. I really don't get the appeal of hard rock, other than just nostalgia. I don't think this album would be as well received if it's released 3 or 4 years ago instead. The lack of variation doesn't help much either. Hitch a Ride is mainly acoustic, but it's just as cheesy as the other tracks, if not more so. The rest of the album is the same old pop rock/hard rock filler. Even if I liked hard rock, I could still imagine myself wanting to have more variation than just this. It's not just bland, it's also kinda unpleasant to listen to. There's something uncomfortable to me about listening to music this joyful and cheesy, not sure what.

I didn't listen to the entire thing, I can't really stomach most of these. None of these tracks really interest me at all, in fact I'd much rather stay from them. I can't quite say that I hate the album though, I just don't think it'd be a good idea to listen to this again.

And that's about it. I don't like classic rock.

Album Highlights: More Than A Feeling
Overall Rating: 3/10

Unbelievable TBH. Boston is in no way shape or form a "one-hit wonder" band (maybe only in the sense that they have one standout album with several hits on it). The thing I find most shocking is that you weren't even able to finish the album. It's 38 minutes long... Dream Theater can top that with one song. The first 5 tracks are all solid hits too (More than a Feeling, Peace of Mind, Foreplay/Long Time, Rock'n Roll Band, Smokin'), I'm just astounded that you could dislike it that much.

Oh well, to each their own ;/

[Trogdor!!!!]

It's more believable if you look at it from the perspective of someone who doesn't like the genre.

[Zageron]

Yeah. There are some genres that just grate on me, yet thousands of other people could fall asleep to it. Like how I can fall asleep listening to hardstyle or dubstep.

[rushyrulz]

Originally Posted by Trogdor!!!!

It's more believable if you look at it from the perspective of someone who doesn't like the genre.

It's like not liking vanilla ice cream

[Zageron]

I like frozen alpaca.

[r]

How do I recommend an album?
麻枝准 X やなぎなぎ - 終わりの惑星のLove Song

[EzExZeRo7497]

Originally Posted by rushyrulz

Unbelievable TBH. Boston is in no way shape or form a "one-hit wonder" band (maybe only in the sense that they have one standout album with several hits on it). The thing I find most shocking is that you weren't even able to finish the album. It's 38 minutes long... Dream Theater can top that with one song. The first 5 tracks are all solid hits too (More than a Feeling, Peace of Mind, Foreplay/Long Time, Rock'n Roll Band, Smokin'), I'm just astounded that you could dislike it that much.

Oh well, to each their own ;/

The only reason why I mentioned it being the band being a one-hit wonder was due to the statistics it had on RYM. I've never listened to Boston before this, so I have no point of reference for their work.

To be fair, I don't "dislike it that much" because of the content itself. I did mention before that I really don't like music like this to begin with, so I think a low rating is to be expected. I used to listen to classic rock when I was 4 or 5 because of my dad, and it hasn't grew on me well since. Comparatively to other albums of similar genres I don't think it's that bad, there are far worse out there. It's just that hard rock is just a genre that I actively avoid. I guess I'm rather closed-minded, in that aspect. I've been trying to fix that, but most albums in that genre don't appeal to me at all.

I could see where you're coming from. It's just that I have soft spots (ambient, folk music) and hard spots (EDM, rock) for some genres. I apologise if I come off as someone who really dislikes the album, because I don't think it's the case. But like you said, each to their own.

@R: Added

[Trogdor!!!!]

Originally Posted by rushyrulz

It's like not liking vanilla ice cream

B-But..

[Zageron]

Hate(love) to be that guy but I just noticed that AlexDest recommended Movements by Solar Fields on your list.

Yes please. /drool
This album is delicious. If you are a fan of ambient, you need to listen to it immediately.
Movements was on my list, but it was culled do to the suggestion limit.

[EzExZeRo7497]

May 25th, 2014
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A Winged Victory For The Sullen by A Winged Victory For The Sullen
What a mouthful.

A Winged Victory For The Sullen is a collaboration between Stars of the Lid member Adam Wiltzie and Dustin O'Halloran. What seemed to be the end of an event (the last European tour for SotL) sparked a new project between the two members - which is A Winged Victory For The Sullen. AWVFTS is an ambient/modern classical project, and its self-titled album is their first album.

Right off the bat, strong resemblance to Stars of the Lid. I think that's to be expected though, as half of the project is from Stars of the Lid. It's wonderful, but the drone cuts short. A piano plays as its replacement. It plays the same chords over and over again, it's quite a depressing string of chords. I'm honestly unsure on what to think of the chords, they honestly make me feel... anxious. I'm quite sure I'm not supposed to feel that way, but I feel scared. It's almost as if something large is happening, but I'm not sure what. I feel like a small being watching a gigantic event with my very own eyes. The drones complimenting the piano both create a gigantic atmosphere but also comfort. It's hard to describe it, but it gives me this unusual combination of fear and serenity. I'm scared... but there's nothing there that would hurt me.

The next two tracks are more comforting. It feels like a modern classical version of And Their Refinement of the Decline, wonderful. My gripes (long-windedness) against that album don't apply here, since this is only two tracks anyway. This is music for people who wishes for inner peacefulness. This is music at the end of everything. I feel like I'm leaving my body, leaving only my consciousness. I feel like floating in Winged Victory's beautiful pure atmosphere. After floating around for a while, I see drops of water forming. They were my tears, I've been so adrift from myself that I forget that I could cry out of majesty. The piano does bring me back to my senses, which is a good thing because I don't want to indulge in too much of a good thing. It also gives some variation too, which is good. A problem I had with Refinement is the lack of variation.

All of these tracks are wonderful in their own little ways. Minuet for a Cheap Piano Number Two is mainly piano, but there's something special about it. It reminds me of a story of innocence and loss, with drones enhancing the mood. It goes on with its story for a while, but it never seems to be dull. It does feel rather lackluster in some moments, I can't help but feel mostly engaged with this track.

Oh man... this is incredibly visceral. I can subconsciously feel myself being torn apart with these instruments. I'm honestly bewildered. How could so little create so much? These are drones that I've heard before, and I usually dismiss them as trite. But for this instance, it's remarkable. Then I realise, it's the simplicity is what makes it so beautiful. This is very minimal for ambient standards, but that's what differentiates it from other ambient albums. You don't need overwhelming sound to drag you into their world, all you need is concord and serenity. These synths and pianos work wonderfully, even though they're so simple. They really create this melancholic yet beautiful atmosphere, maybe even sombre. It's not a very overwhelming feeling, in fact it's rather subtle. I feel that it's appropriate, as the sounds here are also quite subtle.

I zoned out a little at the sixth track, but I can still feel its presence. It's still a great experience even when you're doing something else. There's no one interrupting you and your work flow, as the music is blocking all of it. All you could hear are the innocent and dulcet tones of this album.

The negative aspects of the album? There aren't much, aside from the fact that it's kinda lackluster at points. Some tracks, such as All Farewells Are Sudden, don't quite have the same emotional punch as the other tracks. Though, they are still pleasant listens. The only problem is that they just don't leave much behind. The album as a whole though, is a little unmemorable, for the lack of a better word. I think that's because this is only my first listen, but I doubt it. Ambient like this isn't necessarily something that would leave a stain in your mind, but it's a pleasant surprise once you refind it. But enough about the flaws, this is a wonderful album. I would highly recommend it to anyone who's starting out on ambient and drone.

Ladies and gentlemen, we are floating in sadness.

Album Highlights: Requiem for the Static King Part Two, A Symphony Pathetique
Track Average Rating: 4/5
Overall Rating: 8/10
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How It Should Sound Volume 1 and 2 by Damu The Fudgemunk (recommended by L.B.D.D)

Instrumental hip-hop, eh? Sure. Damu the Fudgemunk is an American instrumental hip-hop artist, though fairly unheard of. How It Should Sound is a compilation of 27 tracks that he has made, some even dating to 2003.

It's exactly what I expected it to be: a relaxing combination of hip-hop and soul/jazz. The beats are really nice - you could pretty much do anything and the music would still fit. I could see myself doing homework while listening to this. In fact, I'm doing it right now. Actually, the beats are quite engaging and mesmerising. They're pretty old-school, something you'd hear from the 90s. It's nice that it's quite rich in variation too, but I think it's inevitable with that many tracks in the album.

Quite the engaging listen throughout, even when I'm busy I could hear most of the tracks clearly. They feel very laid-back, which makes it easy to concentrate. These tracks aren't intrusive in any way, which is always a plus. This would mean that I could do my work at peace, without skipping tracks or anything similar. The sampling is spectacular, they seem to fit most of the moments in the album. Definitely a main factor to like about this album.

There's probably a little too many tracks here, too. 27 tracks might be a little too much for me to take in. Doesn't really help that these are instrumentals with no album concept whatsoever, which makes it hard to follow. I think my biggest gripe with the album is how most of these tunes is how little they really do. They're great and all, but they don't create anything else other than a smooth sound. Some of these tracks make up for it for having a catchier and smoother sound, like Straight From The Harp, but many others miss the mark. This problem is relatively minor however, since tracks like these are something I'd much rather play in the background. They're just not good to listen to and closely examine. The only exception would be You Know Who!, which almost resembles downtempo to me. It almost feels melancholic, but at the same time it sounds so beautiful. Everything about the track seems to work wonderfully. The slow kickdrum, the occasional piano loop, the background instrumentation, everything just clicks.

Not bad at all. None of the tracks here are bad, and the entire album feels fresh throughout. There are very few if any dull moments in the album, which is quite an accomplishment with so many tracks. Unfortunately, it doesn't faze me as much as I'd like it to. There's too many tracks here and too little substance. Regardless, the sound as a whole is quite smooth and slick. Would listen to it again if I'm in the mood for chillwave.

6.5/10 for Volume 1. 7/10 for Volume 2.

Album Highlights: Clap & Form Your Soul, Straight From The Harp, Gone With The Sunset, Boomerang Luck, You Know Who!
Track Average Rating: 3.35/5
Overall Rating: 7/10

[EzExZeRo7497]

May 26th, 2014
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Revive EP by Hiroyuki Oda
Hiroyuki Oda is a Japanese trance producer. He's also one of the largest names in the Otographic Music label - most noted for his studio album Thirty. He also made a couple of vocaloid tracks on the side under HSP, but we're not talking about that. Revive EP is his latest work. Trance as a whole is a bit of a mixed bag for me. There are albums like As No World Idealized which I find amazing, but there's a lot of trance albums that I don't like. Otographic Music's work is generally positive for me though, so I think this album would be decent.

Hiroyuki Oda's sound is just as unique as it was in Thirty. He has always been able to combine uplifting atmospheres and catchiness well. This EP is no exception, Astaroth hits you right in the face with his signature sound. It takes its time to let the atmosphere envelop you and once the time is right, it nurtures. The track does feel too uplifting for me, but this is more of a personal bias. I've never been a fan of uplifting trance. It does feel a tiny bit long-winded as well, but it's because I get used to the sound quick. It's still quite the interesting listen, and the textures are pretty. I can't say too much about this track otherwise.

So what about Hiroyuki's hard hitting tracks? Are they present in this EP? Yes, they are. Green Light is probably one of the hardest hitting tracks he has made. At least, from what I've heard. It's catchy throughout its runtime and the progression is quite well-done. While this track is quite heavy, the upliftedness is still there. It's a little interesting to see how it works, it feels like a mist spiraling around the track itself. While the sounds are nice and all, this feels more long-winded than Astaroth. Even though it's a minute shorter than Astaroth and it feels as if a lot has been done, the distance covered isn't much. It's catchy for sure, but too bland in the very long run.

It doesn't keep up the consistency however. Sparkle, while more energetic than Green Light, is a little too bright. It starts off quite energetic off the bat, reminding me of Oceanus, minus the catchiness. Before you know it, it just explodes in unbridled joy. It's way too much for me, but I wouldn't call it cheesy. It's far too bright for me to like and detracts from my experience considerably. Its brightest points are also the catchiest too, so I'm really torn on that. Didn't like this track that much, but it's not one that I'd avoid. I could really see the appeal though, just not my cup of tea.

Revive is a bit of a follow-up to Sparkle. The bright atmosphere from Sparkle hasn't left, in fact it's there. Revive feels a lot more structured though, it feels faster. The piano is a nice touch too, it gives a little bit more life to the track. Actually, this track to me feels like the most mature. Or at least, the track that's given the most consideration out of the four. It progresses considerably, way more than the three tracks before it. The brightness issue isn't there anymore, but another problem arises for me. It just feels like it's there the entire time. The evolution is pretty and all, but I can't seem to be taken in. There's too much going on here. But regardless, this is probably the best track in the EP.

I have to admit that I didn't like Thirty that much. I thought it was decent at best, but nothing else. This album gave me a better impression, however. It's varied and the ideas were quite nice. This isn't the type of music that I'd listen to again, but it's interesting. The genre as a whole as not really something that sticks with me overall. The ones that do however, are breath-taking experiences. This doesn't quite hit the spot, but it's a good attempt. Highly recommended to anyone who liked Thirty, or most of Otographic Music's work in general.

Album Highlights: Green Light, Revive
Track Average Rating: 3/5
Overall Rating: 6/10
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God Bless Tiny Tim by Tiny Tim (recommended by Hateandhatred)
Jesus christ.

I think I'll just write down my train of thought:

- That intro is so surreal, his tone is so eccentric. I'm pretty sure this is just preparing me for what's to come...
- oh jesus what is that next track lmfao
- Tip-Toe Thru The Tulips is actually okay, but the transition from the first track almost got me laughing
- What even is going on... and I'm only on the second track.
- I swear I heard the third track somewhere. I think it was Spongebob. Nostalgia is nice. It's actually quite nice, but it's the nostalgia factor more than anything. The intro is just odd to me, the abrupt change was almost hilarious.
- I could tell that he's having fun though. This is a fun album.
- I almost can't believe Tiny Tim isn't a girl. That voice is so feminine.
- The fourth track isn't really good, it's almost like novelty more than anything else. Is it supposed to be like this, or is it sincere? I hope this is supposed to be novelty, because I don't think this can be enjoyed unironically.
- His voice is so weird...
- SSSSSSSSSSSSSSSSSSSS I AM THE VIPER SSSSSSSSSSSSSSSSS
- SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS
- I have no idea what to think of The Viper. Every time I think of something I get hit by more hissing.
- I have come here to vipe your vindows.
- I think I'm going to zone out for a bit. I'll be right back.
...
- Wait, this is made in the 60s? That's actually really cool.
- Strawberry Tea is quite a sad track. I kinda like that, it's one of the better tracks in the album. Wait a second... I'm actually liking the sad tracks more than the happy ones.
- The more I listen to this, the more I realise that I'm way too cynical. These tracks are just complete joy. Tiny Tim is a very eccentric person as a whole. I can feel the sincerity of these tracks, but I'm just not feeling it. It's too joyous for me.
- I almost feel like this album is mocking me. Why did you do this to me, Tiny Tim? Just because I liked Strawberry Tea, you have to laugh at me for a while? That's not a nice thing to do, kind man. The rest of the track isn't all that spectacular, though. That ending was kinda neat, but overblown.
- The birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming the birds are coming
- Yeah, I think this album is sincere. The intro of Daddy, Daddy, What Is Heaven Like feels like the most sincere thing I've heard in this album so far. The innocence is there, it's actually quite interesting. The lyrics are so nonsensical... but it reflects so much on the naivity of children. I just don't like the tune when the father is talking though. The rest is actually wonderful. Probably my favourite track in the album.
- The album is actually getting slightly better. I'm not sure how, but I think I'm getting used to Tiny Tim's whimsicality. Either that, or he's getting less insane as the tracks move on. I think it's the latter. I HOPE it's the latter.
- 2 more tracks to go... and I'm still unsure what to think of it. My track ratings seem to lean towards negative, but I'm not completely sure. I have to admit that it's getting a little bland at this point though. I don't think I have anything positive to say about it other than the fact that it's incredibly weird.
- No more duets, Tiny Tim. No more, please. Please stop. Your falsetto is mesmerising. It almost makes me feel envious, it would've been nice for choir. Then again, it'd be odd for any baritone to have a falsetto that nuts.
- Applause in the track. Real.
- Oh god, it's over.
- I'm confused. I have no idea what I actually listened to, at all. I need some other music to relax, I really... gah.
- I've never been this baffled by an album in a long time.

Alright, so...

There will never be another Tiny Tim. His attitude and his sincerity is truly unique, I don't think I know anyone who's this eccentric. It especially shows in his music - although it doesn't translate too well. It almost becomes "so bad it's good" in some aspects, although it really isn't an album that should be enjoyed that way. This is an album that is filled with so much sunshine and happiness, it's unbelievable. If you actually read through my train of thought, you'd see why I didn't like the album so much. This is obviously more of a personal context more than anything, but I'm too cynical for this. It almost feels gimmicky, too fake. While I could hear the sincerity in most of these tracks, the goofiness of them all throws me off. It is easily one of the happiest albums I've listened to, which is also a personal gripe. It's too uplifting, to the point that I can't take it seriously. Maybe this album is telling me that I should be happier sometimes, but I'm not sure. Whatever it is, it's just not my cup of tea. Ah well. It's a very interesting album overall, I don't think I'll ever find another album like this ever again.

God bless Tiny Tim.

Album Highlights: Livin' in the Sunlight, Lovin' in the Moonlight, Daddy, Daddy, What Is Heaven Like?
Track Average Rating: 2.2/5
Overall Rating: 4/10

[mirelle94]

Otherside Records - MONSTERS (vocaloid compilation album)
It's not really a "great" album but i really like the concept behind it. and the illustration.
i bet it'll just get 2 or something but i'll just leave that to you
~

oh and for something i actually liked:
Ar Tonelico III Hymmnos Concert Side.Red ''SUZUNO=MIYA''
Ar Tonelico III Hymmnos Concert Side.Blue ''SAKIYA=RUMEI''

well choose just one i guess, sakiya=rumei has more akiko shikata and suzuno=miya has a more varied collection of singers.

[L.B.D.D]

coolio

[rayword45]

hey guys if you recommended anything here go to my thread and recommend some shit

ps tiny tim rocks 4/10 my ass

[Hateandhatred]

Originally Posted by rayword45

ps tiny tim rocks 4/10 my ass

Considering Eze's ratings are highly dependant on his personal appreciation, I think it is justified.

I'm personally satisfied with the review. I tried to list different and unique albums, and also good ones. I think I managed to do that.

[rayword45]

Well, actually, I... never listened to Tiny Tim.

Barring SpongeBob that is.

[EzExZeRo7497]

Sleepy.

May 27th, 2014
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Manchurian Candy by Utabi (recommended by lurker)
It's hard to talk about Utabi's style of music. It sounds like a mixture between IDM and chiptune - which is peculiar off the bat. Perhaps it's best to describe it as a more playful and aggressive Autechre? Or at least, a more focused Aphex Twin. Either way, Utabi's style is quite unique. It's not something that you can explain in genres. Manchurian Candy is generally IDM, with elements of chiptune and even VGM-influenced.

Like I said before, it's hard to talk about Utabi's music. It's intriguing, to say the least. Tracks like Windo05 remind me of Aphex Twin considerably, but with much better production and focus. At the same time, there are tracks like Crackback Cheese which are hard-hitting - shattering that Aphex Twin resemblance. Crackback Cheese almost reminds me of harsher forms of breakcore, like Xanopticon. However, the playfulness is still there. It's a little odd to see this combination of playfulness and aggression, but it surprisingly works. It's a very unique sound, which does engage me quite a bit.

There's a huge amount of variation here. For example, Kmoizcarkt Shoimse Back has some influences of j-core, while Three Tennies is predominantly chiptune. Three Tennies is far too playful for me to like, however. It reminds me really strongly of NES platformers, which is sweet. Just not my cup of tea aurally.

So much variation. Every track virtually sounds different from one another. Doll-Shape-Automaton is a progressive IDM track. It starts off with strong resemblances of Autechre, and just takes its own form. Its minimalism is what makes this track so beautiful. While the track does sound very clustered at points, it feels very spacious throughout. Its progression is so fluid, it's very commendable. Probably one of the best IDM tracks I've heard in a while, as I don't think there's anything as insane as this.

Oddly enough, the tracks that I don't like as much are somewhat similar. At least, the atmospheres they create are alike. Turntable Utabied and Three Tennies both remind me of retro video games and are too playful for me to like. While the former is more twinkly more than playful, I feel that those two types of emotions tie themselves together very closely. It's a good thing that the album is very varied, I suppose.

Now I could talk about the variation and the tracks and all for a long time, but I'll stop there. I'll start with the things I didn't like. This album is ultimately, a mixed bag. As I mentioned before, Utabi's music is very playful. I think I could say that he's one of the most playful IDM artists out there. His music is very focused for sure, but it's too upbeat and playful for me. His more cold/clinical tracks like Doll-Shape-Automaton click me a lot more. This is more of a personal gripe more than anything else though.

Hmm, other than that I don't have anything else to say. I did get kinda bored quite late into the album, but I don't think IDM albums should be this long anyway. Along with the varying quality of all these tracks, I can't think too highly of this album. There are multiple tracks that caught my attention though, so I can't say that I disliked it. On the contrary, actually. This is a playful album done right, for the most part. The tracks here are quite complex in structure and have quite the unique sound. Half of these aren't my cup of tea, but I could respect those works. Highly recommended for anyone into IDM and the like.

Album Highlights: Lighpotllution, Doll-Shape-Automaton, Cassie Angustifolia
Track Average Rating: -
Overall Rating: 6.5/10

[EzExZeRo7497]

May 28th, 2014
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Particle Protocol by Speaker Gain Teardrop
Huh, I could've sworn I've reviewed more Japanese post-rock. Speaker Gain Teardrop is an experimental post-rock Japanese band, with glitch and ambient elements. Not a very inspiring combination, as there are multiple bands that do that. 65daysofstatic is one that comes to mind almost immediately. Just because an idea is uninspiring doesn't mean that it'd always be bad though.

Colophon starts off with beautiful yet melancholic guitars. The introduction acts as a warning for what it is coming. It starts off very minimally and progresses more and more... becoming more intimidating but at the same time remarkable. The sounds of looming disaster further enhances the mood... and vanishes for a brief moment. Before you realise it, the wall of instrumentation just explodes. While it's nowhere as spectacular as a couple of other tracks I've listened to, it's still beautiful. The sounds of guitars crying of joy almost make the track too overwhelming for me. Great track.

Particle Protocol is as generic post-rock could get. There are some ambient influences in here for sure, but nothing impressive. Nothing really happens here, it just wanders around in random directions. It does take control of itself halfway through though. It realised that it was being too aimless and just transforms to something larger. It's a pretty relaxing track relaxing as a whole, but it's an odd contrast from the previous one. Couldn't really find any mutual concept between the two. The rest of the crescendo is alright, nothing special. Respectable regardless.

The variation here is quite impressive. Charcoal Feather is a minimal IDM track, very light. It's nothing spectacular, feels more like filler more than anything else. It's unmemorable, but at the same time I wouldn't mind listening to it again. Just not something I'd revisit. Abbreviation shows a landscape of a desolate wasteland. How it presents the landscape is a little uninspiring, as I felt that I've listened to it before. However, it's still very clear and vivid. The bitter and depressing atmosphere is as prominent as you could imagine in this track. When you think you've seen the worst, the track hits you with crescendos. It destroys the desolate landscape and creates something more disastrous. How the crescendos ruin everything in its path is so vivid and tragic, almost heartbreaking. Once the destruction is over, it clears up. Surprisingly enough, the landscape hasn't changed much. You realise that you've been looking at a dead piece of land all along. You can't really kill anything that's already dead.

The remix track, Colophon.#02, is actually one of the best tracks in the album. While its distorted instrumentation is gone, Kashiwa Daisuke has put his own spin on it. It's very reminiscent of his older works from Program Music I - always a good thing. However, this track can't be compared to Program Music I in quality. Colophon.#02 is too aimless and stagnant - but it's a pretty listen. I almost like this more than the original, actually. For people who are curious, it is slightly different from the one in Re:. The intro is a lot more detailed than the one in Re:. However, the track seems to take its time much longer than it did in Re:. Some parts feel long-winded, as a result. I do prefer the one in Re: better, but the difference is nearly negligent.

My biggest problem with the album is that it's ultimately not very memorable. In addition to the fact that I'm not a fan of half of these tracks - it doesn't leave me with a good impression. Most of these tracks have been outdone by many other post-rock acts; 65daysofstatic and Yodaka are a few that do. It's a bit aimless too, there really isn't much of a concept to follow and ultimately remember. I do think that a strong post-rock album has an underlying concept behind it - it doesn't seem to exist in this album. An album that's weaker than its sum of its parts, basically.

It's a respectable release. It does feel rather unique at points - but it really isn't. I could compare most of these tracks with many others, which isn't necessarily a good thing. The fact that it can be so easily compared just shows how replaceable some of these tracks are. I really want this band to be more experimental with their work. I heard that they play shoegaze as well, they could embed that into their music. More acts like Yodaka would be absolutely fantastic. We need more shoegaze/post-rock acts. But as it is, it's decent. Not too bad, but there's tons of room for improvement.

Album Highlights: Colophon, Abbreviation, Colophon.#02 (Kashiwa Daisuke Remix)
Track Average Rating: 3.19/5
Overall Rating: 6/10
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Columbia-Princeton Electronic Music Center: 1961-1973 by Various Artists (recommended by choof)
This album baffles me. I can't give any background information on ths album because I think it's mainly self-explanatory. The album itself however... is really peculiar. These tracks are incredibly minimal. What makes them move are these robotic/unorthodox beeps and sounds, which I've never heard before. This is really unfamiliar territory for me, and probably for most people as well when they first listen to it.

I see this album as a primitive android trying to communicate with other machines. While the android cannot feel, us, the listeners, could. Postlude From "Music for a Sacred Service" starts off very vaguely, almost too mysterious to be comfortable with. We don't understand the conversations going on, at all. We're kept in the dark for a good majority of the track. We could hear some machines being more responsive than usual at some points, notably towards the end of the track. For some reason - it really scares me. It's as if you don't know what's going to happen at all. Whatever is going to happen is caused by this... android... thing.

I'm pretty certain that there's no concept here, whatsoever. Just a compilation of tracks from the electronic music center. However, for some reason they feel connected. Earth's Magnetic Field almost feels like the mind of the android itself. It starts off very minimally and simple - mirroring the mind of the robot. It gets overloaded with information often - as shown in the spike in volume and larger clusters of sound. On another note, while we construct robots as callous - it doesn't seem to be the case here. These sounds almost feel... dulcet and innocent. But at the same time, it may as well be programmed that way.
Even when it's overloaded, it can only translate its thoughts in its own naive language.

Prelude No. 8 is a lot quieter - but still cold. While there are no other machines to communicate with, but it's still moving. In contrast to what you can hear in its core, it translates very differently on the outside. It sounds very clinical, just as you'd expect a robot to sound. There's something really dark about this track, but I can't point my finger on it. The atmosphere sounds quite sinister, even though only the robot is around. Not sure what this means, but it's a little unsettling.

What really interests me about the album is not the story, but the textures. These tracks, as I said before, are mainly made out of bleeps and bloops. VERY minimal bleeps and bloops. As a result, these minute sounds feel very prominent. Every spike in volume looks and feels like a cluster of noise. Out of Into shows this quite well. I could almost see clusters of sound just moving in this vast grid. The fact that most of the sounds can only be heard through one part of headphones enhance this. They actually give you a direction on where the sounds are. It makes the textures feel a lot more intricate. Some of these sounds almost create a melody - which is odd. It's still odd to me that how only 4-5 sounds in a sequence could make us think of melodies instantaneously.

Cortez is probably the oddball here. It shifts the mood drastically - it's almost pleasant. These distorted low voices almost feel like drones. I've actually never heard sounds like these being used as drones before. It's actually really neat to see it work, although it's really unorthodox. It's very unnerving too, which is a pleasant surprise. Really interesting.

Heh, I thought I was odd for almost feeling emotions while listening to Autechre - specifically Tri Repetae and LP5. I'm not sure what I'll think of myself after this album. This just takes the minimalism to another level. Surprisingly enough, it actually works a lot more viscerally. There's something about the purity of these sounds. Either that, or the textures were intriguing enough to impact me on an emotional level. Not very often that tracks like these really do that, so that's a huge feat.

One of the most leftfield albums I've ever listened to. Not that it's saying much... but jeez. There's absolutely nothing I can compare it to. Autechre is a very loose comparison - you can't compare their works to this. There's a lot of interesting tracks in here, but that's an understatement. Any experimental electronic enthusiast should listen to this at least once. It's an interesting listen. While I can't say that I'm too fond of these, I can definitely respect how they were constructed. Great album.

Album Highlights: Postlude From "Music for a Sacred Service", Out of Into
Track Average Rating: 3.5/5
Overall Rating: 7/10

I'll put up one more review today probably.

[EzExZeRo7497]

May 29th, 2014
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Silence of Northern Hell by Blood Stain Child
Before Blood Stain Child decided to put trance into their music - they were mainly melodeath. Silence of Northern Hell is their first album, a melodic death metal album. It's pretty close to symphonic metal as well, but melodeath is the better label.

Children of Bodom. First thing that comes to mind is Children of Bodom. Normally this wouldn't be a bad thing but... the resemblance is very strong here. It's almost as if they are cloning CoB. However, there are a few key differences. For one, BSC's music here is more symphonic than Bodom's. In addition, Bodom tends to rely on some keyboard for some refrains. There isn't many keyboard parts in this album - in fact it reminds me of an entire orchestra. The songwriting however... strongly reminds me of Children of Bodom. It's so similar that I could've guessed it was Bodom if I didn't know who was playing.

The tracks are okay for the most part. What you'd normally expect from melodeath, though the symphonic elements are emphasised more. In comparison to something like say, Sonic Syndicate, this album is far less aggressive. It's nowhere as direct, but it sounds huge. Unfortunately, it just sounds huge. It really isn't all that impressive in terms of sound - it seems very hollow. There isn't much to commend, other than its symphonic sound. It's not really catchy, the production is pretty bad and vocals are below average.

Not really too fond of this album overall, as I'm going through the album. While a change of pace is nice - Under the Sin of Grief is a mixture between power metal and melodeath, it doesn't click. It seems too uninspiring to me. It's not really engaging, although the sound is quite beautiful. The songwriting seems a little uninspiring here, I don't think Bodom-styled songwriting clicks well with non-pure power metal. The rest of the album is pretty generic and uninspiring. Its strong reminisence to Children of Bodom doesn't help too. I don't really see too much of a reason to listen to this, as Bodom has done better.

I think the best part of the album is the orchestration. It's a very neat addition to the melodic death metal sound. Although I've said that the sound feels hollow, it's a good attempt. BSC tried to differentiate themselves from other melodic death metal bands, albeit not very successfully. It's nice that they did, of course. It's just that it probably wasn't as effective as it was on paper. Oh well, at least it's not as cookie cutter as many other melodeath bands out there.

If you're really into Children of Bodom, get this album. You would probably like this. If you're into melodic death metal, you probably shouldn't get this album. The ones that you've listened to is probably better than this, although not by much. It's an honest attempt, but I don't think mainly melodeath/symphonic metal is for Blood Stain Child. Fortunately for them, they changed their style in their later albums.

Album Highlights: Silence of Northern Hell, Crimson Symphony
Track Average Rating: 2.29/5
Overall Rating: 4/10
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Hell Frost by The Unguided (recommended by T-Force)
That's an odd coincidence... this is trance metal. Anyway, The Unguided is an Swedish melodeath band, with trance influences. Hell Frost is their debut album. Apparently a couple of band members from Sonic Syndicate left to work on this project. I don't know much about Sonic Syndicate's music, as I've only heard one track from them. It was good, though.

I haven't listened to Sonic Syndicate enough to give a proper comparison. However, since it's partially trance metal, I don't think I have any other choice but to compare it to Blood Stain Child. While BSC's music is mainly trance-based, The Unguided has more of a melodeath approach instead of trance. The trance elements are still there, especially in tracks like Inherit the Earth, just not as prominent. Not a bad thing, however.

The appeal for genres like this are its engagement and catchiness. I don't really want music that just sounds heavy - I want something catchy and addictive. Disarmonia Mundi has a couple of tracks like that, like Chester or Resurrection Code. This album, however... doesn't quite make the mark. I can't help but feel like most of these tracks are formulaic. Most of the tracks, as closed-minded as I'd sound, generally sound the same. Doesn't really help that the formula consists of a somewhat weak chorus, average electronic elements and all in all generic songwriting. Not that any of these tracks are really bad, but man. I did expect something more hard-hitting, I suppose.

There are some tracks here that almost did it for me. Serenade of Guilt's intro caught my attention, although I did wish that the growls were less whiny. The problem is that it's a little too stagnant - it's not aggressive enough. It's heavy-sounding for sure, but heavy for the sake of sounding heavy. The chorus is a little bit disappointing compared to the rest of the track, too. Pathfinder's chorus is quite good in comparison to every other track here. It's a shame that the rest of the track isn't as strong as the rest, though. Green Eyed Demon however, seem to have all those elements down. I'm not too sure why I don't like it as much as I should, it's missing something...

I like the second half of the album more than the first half. Though it's still not quite memorable, it's nowhere as weak as the first half. It's definitely more hard-hitting and a little more catchy. But overall, the album is alright. There are other albums that have outdone what The Unguided did. Blood Stain Child has made better trance metal albums, for example. It's a neat spin on the melodic death metal genre, but not very effective. It does miss what makes melodeath so great for me. It's a respectable attempt, at least.

Album Highlights: Pathfinder, Green Eyed Demon
Track Average Rating: 2.7/5
Overall Rating: 5.5/10