Old 08-30-2013, 10:35 PM   #121
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Day 64: Nothing Lasts... But Nothing Is Lost by Shpongle (Album Choice: Spenner)

Hooray for psychedelic music. I don't have any acid on me, so the music will do for now. Mix ambient music, psychedelic trance, world music and spoken word samples. This is what you get, apparently. This was planned to be Shpongle's final album but like Lil Wayne, they decided against retirement. There are supposed to be 8 songs (each one representing part of the dream sequence) but the whole thing is split up into 20 tracks (To... Thwart piracy?) and flows like one track. Isn't that convenient? These guys chose the creepiest mascot possible, and dress like freaks. Not hippies, more like a milder version of Cirque du Soleil. All signs point towards "good" here.

You know, I'm a bit wary about commenting on any individual tracks because of their incredibly ineffective anti-piracy scheme. Truthfully, since I'm expecting a world of psychedelia, I'd rather just lay down on the floor and listen but I can't do that. I have a challenge I've almost beat already. The description I was given is pretty accurate. You can hear traces of ambient and psychedelic/goa trance here as well as a heavy Eastern music vibe. There's some other stuff, like jazz during the beginning of Mentalism (there, I mentioned a track) but those three are the most prominent. There's no real title track, but there are two tracks each with one part of the album title (guess how they split it up) which aren't seated next to each other. This is due to ONE bastard track, Shnitzled In The Negev. But that doesn't matter because the whole thing plays like one song. Speaking of that, I've noticed that the more I focus, the less I hear the gaps between songs in this "gapless" player that they call Winamp. That's not related to the music. Like the last psy-electro album I reviewed, there's a mixture of electronic music and analog instruments. The main thing that comes to mind are the flute that's used throughout the album, and the incredible trilogy of guitar-based tracks at the end, starting with a short noise-heavy electric guitar solo in Connoisseur Of Hallucinations, then moving to a more melodic rock guitar on the penultimate track, ending with acoustics. That's my album highlight, instead of one individual track. Good to have something unique in this filler ass review.

Was this album psychedelic? Yes, in the way you'd expect out of psytrance, which isn't that psychedelic for a group defined as a "psychedelic music project". After listening to the stoner heaviness of bands like Sleep, the whacked-out epicness of Butthole Surfers and Ween (The Pod is a fine piece of psychedelia once you let it penetrate your mind), and the lo-fi ambient of Boards of Canada, the psychedelia here doesn't seem that extreme. I was expecting more drugged-out sounds here. But is it good? Yes. Although I wish they had taken a less obnoxious approach to anti-piracy and just broke the damn thing up into the correct 8 tracks (or preferably, one long track).

And bonus review.

Today I listened to Vicious Delicious by Infected Mushroom (Album Choice: dore). It wasn't as good as Classical Mushroom.

How much longer does a mini-review have to be? I've already beat Christgau in terms of review length here fuck you.
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Old 08-31-2013, 09:47 PM   #122
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Day 65: Soft Focus by Vanilla (Album Choice: Ohaider)

There is more than one artist with this name:

1) Vanilla is an instrumental hip hop artist based in Oxford, UK. He now has 6 releases to his name: 2009’s ‘Thought Process’, the 2010 EP ‘Night Visions’, the full-length ‘Chrometrails’ released in May 2010, the LP ‘High Life’ dropped in May 2011, ‘Soft Focus’ released in May 2012, and finally ‘For What It’s Worth’ in January 2013. Vanilla’s music can be downloaded here: http://vanillabeats.bandcamp.com/

And that's the summary from last.fm copied and pasted right here. See, I could've summarized it all up, but I'm just not feeling it today. I averaged it out to 2 albums per day and then I have 100 done. With two instrumental hip-hop albums already done let's compare! Or not. I'll decide later.

I liked this more to Donuts rather than Metaphorical Music. There's a bit of a jazz/lounge sound with a bit of funk as well (Someone New is full of fraudulent funk strumming, for example), but like Donuts, there's a heavy focus on vocal samples, usually left mostly unmanipulated, mainly consisting of soul music. And also non-vocal samples unless that's just a constant vinyl crackle effect. Compared to the party-esque vibe of Dilla's last album, this album has a very heavy chillout feel throughout. The songs here are a bit longer then the ones on Donuts, averaging a bit over 2 minutes each overall. While for many tracks this works, others it feels a bit overextended, as does the album as a whole. If you take it in pieces at a time (I'm assuming this, since it took a long time for it to feel too long), the beats here are of top-notch quality, loaded with soul (music) and great drum tracks. Packaged as 27 songs for a full hour, it's too damn long. How many times have I complained that an album is too long? Unlike the other albums where I say that, I don't think this album should be edited to be more concise, because none of the songs make me think "this is mindless filler". Instead, as I said two sentences ago, I would cut it up into a shorter album and an EP. Make it easier to digest.

I had my conclusion already, pretty much. Top-notch beats, and an album that really doesn't feel like it should be swallowed as one whole piece. How to extend any conclusion paragraph? I could go on with some crappy wankery praising the album, but instead let me do comparisons. I still haven't fully re-listened to Donuts but that's a much more upbeat album, whereas this is chillout. Nujabes is also chillout, but that barely counts as instrumental hip-hop only half of the tracks were instrumental. And that's about it for comparisons. This album is free to download on Mediafire (via his Bandcamp) so I advocate that you make a judgement for yourself.

Bonus review

I have to do two albums a day for the next few days if I want to make it to one-hundred. Maybe I'll do 3 in one day and just do an epic album on the last day. Or I could do 4 on the last day. We'll see then. Today's bonus review is October Language by Belong. Stealing what other people said, this can be compared to William Basinski's Disintegration Loops series. It's related to some tragic event, and it's described as ambient. Here though, the ambient doesn't seem to disintegrate as much (these songs are like one-tenth as long). They just fade in, go on for a few minutes, and fade out. And it works here, because this isn't horns from the 70s. These are newly recorded songs made up mostly of feedbacking guitars. Not what I'm expecting out of ambient, but feedback is awesome. And 8 tracks of feedback doesn't get old. Unlike most ambient music, I'd prefer to hook this up to a sound system and blast it, since this sounds like it should be played loud. Also, I don't get the Katrina connection, I just enjoy feedback. 7/10
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Old 08-31-2013, 09:59 PM   #123
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(artist) Da Vinci's Notebook - (album) Brontosaurus
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Old 09-1-2013, 06:43 PM   #124
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Day 66: Thank You Happy Birthday by Cage The Elephant (Album Choice: trumaestro)

I realized that if I do only one album on the third-to-last day, I'm given more options. I could do 3 tomorrow and 2 on the last day, or 1 tomorrow and 4 on the last day, making it to 100 reviews all the same. The beauty of having options in life. So yes, it's only 6:00 so I have more time than usual, meaning I don't have to rush at all. So, Cage The Elephant. Garage rock/punk blues band from Kentucky. Debut went gold, and they have one single that somehow reached platinum despite never charting higher than 83 on the Billboard 200. Apparently, they shelved 80 freaking songs made for their second album (not necessarily this album) so this better be really damn good. Every song is supposed to sound like a different band, which usually is pretty promising, but who knows? Probably a lot of people since this album isn't very obscure at all (unless you're one of those fools that considers bands with gold records still obscure).

After a very interesting beginning (with a drum machine or something that almost sounds like speedcore that's heavily slowed down!), this "different band" concept isn't showing very well. From the first 3 tracks, I hear a mixture of pop, garage rock, grunge (the second track is named Aberdeen) and some really abrasive punk (Indy Kidz features some truly bloodcurdling screams). Well, actually, now that I think about it, that is pretty diverse. Shake Me Down is a sissy pop song, while 2024 adds a bit of punk to the pop, and Sell Yourself is merely one step away from noise-heavy hardcore punk! It's like a sandwich! No wait, that's an incorrect simile. It's like evolution! Or devolution! Depends on your opinion. I for one prefer fast, abrasive hardcore punk to sissy-made pop songs so I'll go to the former. Regardless of the amount of pop, there's always a bit of noise guitarwork injected somewhere, which makes it all the more tolerable (from someone who doesn't even dislike guitar pop). The evolution stops once we reach the third quarter of the album, with a whole dedicated to pop songs. From to psychedelic pop (Rubber Ball) to terrible post-grungy pop (Right Before Your Eyes) 60s pop mixed with punk (Around My Head). The "punk blues" tag these guys get on Wikipedia doesn't show like I expected it to, these guys have a clear love of both screamy punk rock and soft pop songs (and muffled-ass production), but I get none of the bluesy tinge you can clearly hear from bands like The Jon Spencer Blues Explosion, The White Stripes or early Black Keys. Maybe a little bit from the anthemic Japanese Buffalo but other than that, nope. The closer features more or that pop sound, with tribal-esque drums, soft guitarwork and the most laidback vocals on the entire album. The vocals work beautifully, any sign of nasality is (mostly) hidden by the low vocals. Also, there's a secret song that isn't really a secret song. 20 seconds of silence seperating the song, does not qualify as a secret song in my book.

I like to do comparisons, they're fun. I don't know who to compare this to. The other punk blues bands don't work as comparisons, and the only Kentucky bands I know are math rock. We'll have to skip that part today I guess. Everyone compares this album to the Pixies, but I can't do that because I'm not that familiar with the Pixies. So, did it adhere strictly to the somewhat-concept? (I found something non-highfalutin to talk about. Isn't highfalutin a pretentious word?) No, but it wasn't too linear all the way through. Going from loud, speedy hardcore punk to Beatlesesque psychedelic pop rock to jangly pop punk songs to heinous post-grunge tracks, there is a fair amount of ground covered, and as you can see from this sentence it varies in quality as well. If post-grunge appeals to you as much as hardcore punk and psychedelic rock then fine, you can call this album consistent. But since post-grunge bands typically make me want to clean my ears with battery acid, I can't do such a thing. The injections of noise guitar are a plus, the murky production is half of the time a minus. So it evens out, and the album is still inconsistent. The good outweighs the bad though, so this gets a thumbs up from me.
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Old 09-1-2013, 07:02 PM   #125
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Cage the Elephant is much more closer in terms of sound and energy to Garage Rock Revival bands like Arctic Monkeys, Dirty Pretty Things or The Hives. Never heard them as a punk blues band.
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Old 09-2-2013, 08:04 PM   #126
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Day 67: Brontosaurus by Da Vinci's Notebook (Album Choice: icontrolyourworld)

I've decided to do 4 albums tomorrow. Nice way to blow-out the end of summer, and a nice way to continue putting off this summer homework. Hey, they don't check it the first day, now do they? Anyways, remember how I said that reviewing Neil Hamburger was too difficult for me? Stand-up isn't really music, after all. This, on the other hand, is still technically music but pretty much just as hard to review. Da Vinci's Notebook is a comedic acappella group, which means there are no instruments to get captivated by (or critique) and judging vocals alone is pretty difficult. A ton of bands I like feature what many people view as "shitty singers" (The Jimi Hendrix Experience, Dinosaur Jr, Neutral Milk Hotel) so I'm in no position to criticize anybody's singing. That leaves lyrics, and any potential instruments to show up (since I've heard a couple songs from this album already, I'm guessing that'll be pretty rare). In short, this will probably be ANOTHER short review. But hey, I'm doing a lot tomorrow so good enough.

Fun fact: Thanks to Homestar Runner, I used to mix these guys up a lot with They Might Be Giants. Probably because both have singers with glasses.

Yeah, it's kinda hard to review this. Based on the first two songs, this is straight up acappella minus a cello solo or something. To comment on the humor, the first song I didn't get the joke, and the second song was funnier when Internet Porn was still something nobody discussed. The third song breaks the mold, with constant drums in the background, a swirling guitar popping up now and then, and lyrics about stalking. It almost sounds like non-acappella music. For an acapella group, they (seemingly) cover a whole lot of ground. They have rock (Heather Graham), what sounds like spy music (Internet Porn, and that's very fitting), some sort of racist island thing (Me Pants Fall Down) and sissy-ass acoustic/piano pop (I Wish I Were). The last one is the first song I actually found funny, though the joke of "this animal sucks" is extended a bit at 5 minutes. Enema Countdown actually reminded me of They Might Be Giants if they tried acapella. So I wasn't wrong when I was, like, 10. Another Irish Drinking Song isn't as funny as The Blarney Stone by Ween. I don't see it as the album centerpiece like everyone else myself. Enormous Penis, being one of two songs I've heard before, is still catchy as hell, in fact it may be the catchiest song on the album, but it's not as funny as it was in 2007 or 2008 (when did that Stepmania chart come out? If it's before 2007 it's 2007). As a whole, a lot of the songs seem a bit on the juvenile side of the humor. And while the same social commentary that everyone else uses can get old, nonstop sex jokes and non-sequitors can get tiresome after a while. Just look at Aqua Teen Hunger Force in the later seasons. 10 of the 21 tracks are dedicated to some sort of suite titled "Uncle Buford Mega-Mix". The concept reminds me of Fingertips by They Might Be Giants except not really. In fact, not at all. The songs are 5-9 times as long and the songs aren't connected the same way. Just like the rest of the album, it's a bit of a mixed-bag, both musically, still varied with a heavier faux-country vibe than the rest of the album, and humor-wise, with (in my opinion) the only funny tracks being Face Like Billy Joel (a great mini-parody of The Longest Time) and Uncle Buford (3 parts to it, each part containing several parts to it. Yes, fake hillbilly humor is something I find entertaining.) The rest of the songs in this megamix fall flat, maybe they're funnier if you're either in a bar or under 13. And then they end the album with a cover. Not even a funny cover, a goddamn cover of What A Wonderful World what is this?

Brontosaurus. Was it funny? Only at times. Was the music catchy? Only at times. That answer can be used for a lot of questions about life.

Do you watch TV? Only at times.
Do you drink soda? Only at times.
Do you jerk off? Only at times.
Do you ever do your homework? Only at times.
Do you enjoy killing small animals? No.

But yeah, a mixed bag of an album, and surprisingly diverse since it's around 85% no instruments. The vocal harmonies are structured well, and since I can't really comment on singing, I'll say all 4 of them are better singers than Stephen Malkmus. The main selling point is clearly the humor, and I'll liken this to many other "novelty" bands. Most of the time, they come off as trying too hard to be funny. The thing is, when they are funny, they're EXTREMELY funny. And I pretty much stole that from a review page about The Dead Milkmen but whatever it still fits.
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Old 09-3-2013, 10:09 PM   #127
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It's the last day of summer, 12 PM EST. I have to do 4 album reviews to reach 100 reviews, and I'm not going for any of that mini-review crap. And 3 of the albums I chose are double albums, so that's around 4 hours total music to review in 12 hours. And I still haven't done my summer reading. Today is going to be a fun day.

Day 68-1: Castle Talk by Screaming Females (Album Choice: dAnceguy117)

Let's start with the short album, right? 37 minutes of power trio indie punk with female vocals. This band enjoys basement shows (since people under 21 can attend which I assume must be a good fraction of their fanbase) yet they've toured with bands as big as Garbage. And they've toured with somewhat less popular but much better bands like Dinosaur Jr. The shortest album gets the shortest intro.

As many people have pointed out, there's only one female in the band, so the name Screaming Females is a bit misleading. Especially considering in this first song she doesn't really scream much at all. The production here is pretty garage-esque, the guitar is pretty lo-fi (like it's run through a cheap box amp), the vocals are untreated and often slightly muffled, but hey, at least you can clearly hear the bass. That's superior production to most rock bands. Speaking of the guitar, I think every song on this album has a guitar solo. And most of the guitar solos are pretty good! I can see why this band opened for Dinosaur Jr. Actually, no I don't. They're not that similar, why did I say that? But yeah, the fact that she can sing and play solos like that at the same time is pretty impressive. Unless they didn't record this live. That means that one, they need better producers and two, playing these songs live would be pretty crappy. Through all the low fidelity basement punk, there is a consistent pop sensibility spread all over the album. I mean, Deluxe basically sounds like a home demo pop song. The last track is more indie-lofi-pop-punk so I won't go any deeper.

The shortest album also gets the shortest conclusion. It's a good album. The production is somewhat crappy but it fits the album. The guitar work is great, the bass is thick, the drums are average drums. The vocalist isn't the best, but hey, I have no right to criticize vocals! She's better than Liz Phair on Exile in Guyville and that's a great album. Next.

Day 68-2: La Barca by Thomas Koner (Album Choice: Choofers (with approval from Spenner))

How much ambient music have I reviewed? Like, 3.5 albums, one wasn't exactly "ambient", more like horror film score, and the other 2.5 were all from the same guy. New artist to review. This album mixes ambient soundscapes and field recordings, and every track is named after where and when (in the order) the recording was done. But instead of the name of the place or whatever, we're given coordinates. I guess he wanted to be as specific as possible. For most albums, the field recording bit either sounds slightly gimmicky or underutilized, but here it actually sounds pretty intriguing. And this is the first double album of the day.

I expected the wrong kind of field recording. Why? The word "field" makes me think of nature and grass and such. I was expecting birds to be chirping and little more then the sound of small animals. Most of these recordings are of people, living their lives I assume in places like parks, tech support, they're swimming in Hour Nine (not typing the coordinates). Nature sounds pop up here and there but that is never the focus. It's the sounds of people behind some very low, menacing ambient music. Compared to the crumbling, defeated-sounding Disintegration Loops and the horror-meth of Transformalin, this sounds very dark, often disturbed. There are sounds like light strings that aren't as chilling, but, refraining from calling it the "focus", the clearest sounds are the constant low frequency drones throughout every song on the album. I sort of want of to look up these GPS coordinates, but I'm refraining. I had to do it for Hour Five and I'm still not typing the rest of that song title. The song sounds like he recorded rough sex or something.

I got an error. I'm not trying anything else.

This is classified as "dark ambient", and it sounds pitch black. Let me use the same formula as I did for the two full length Basinski reviews. For Melancholia I said "This album features a very icy, barren sound, akin to melting glaciers or snowy winter woodlands." For Nocturnes I said "If Melancholia is a winter forest, Nocturnes is the same forest except late at night with less snow and more cold, dry winds. And someone stuck in a piano in there somehow." And for La Barca, I hear the mind of a somewhat disturbed man observing life as it is. It's not always dark, but sometimes it is. I doubt that's what Koner was going for, but whatever. The whole field recordings shtick? It works! Just not the way I predicted it to.

Day 68-3: cLOUDDEAD by cLOUDDEAD (Album Choice: Lord of Sushi)

Why is it that pretty much every rap album I've been recommended is white people? Yes, that's a legitimate question. In this case it's nerdy white guys, and that typically makes the caucasian-ness more noticeable, but in a likeable fashion, just like nerd music in general (hello there, They Might Be Giants). This is described as "abstract hip-hop". What the hell is that? Like abstract poetry? Does that make Whoa by Earl Sweatshirt abstract hip-hop? I don't understand this tag. This is a compilation album but I've seen it being referred to as a studio album, probably because these guys hadn't released an album at that point. This compiles the first 6 singles the band released, and who the fuck makes all their singles over 5 minutes? How much radio play can you get out of that? The guy who recommended this album had a long list of albums he recommended (I wish I knew how to make that sentence palindromic) but for the last few days he narrowed it down to this album only. That basically means I have to review it.

Yeah, this is definitely legitimate nerd music. Not like those posers Weezer! I don't have anything against Weezer, I just don't think they're actually nerds. These guys definitely are nerds, weird nerds at that, or they're just better at playing up the act. I now understand the "abstract hip-hop" tag. Rather then a typical beat, pretty much everything is placed behind downtempo/ambient music. It's unique, and it's a pretty awesome idea. And these are more like collages than songs, with rap popping up in places about as much as odd samples do, ranging from jazz music (I assume that's sampled) to random tape recordings to phone calls. And that's a good thing. The rapping here is pretty odd, to say the least. The lyrics don't really have too much meaning at all, the guys voice is pretty odd and the flow isn't stilted, but it's not impressive either. It's pretty obvious that these guys don't take the whole thing too seriously, and, yet again, that's a good thing. The worst thing you can do when your rapping completely fails to impress is take yourself way too seriously. Case in point: Bangs. That's a very extreme case though, not comparable to these guys at all. This just comes off as very prankster-esque. Like if these guys wanted to make a ambient hip-hop version of Lumpy Gravy. I'm not commenting on any last songs. These songs are impossible to dissect.

Very interesting album. I'm a bit reluctant to base my opinion off of one listen, as the album as a whole is somewhat impenetrable. These were singles? What damn radio station wanted to play this? That doesn't mean it's bad, it's like "what damn radio station wants to play Lumpy Gravy?" This work is so bizarre that I can totally perceive why some view it as "hipster bullshit". Regardless of any rapping skill (or lack thereof) these guys were a very creative bunch, and like many other artists decided to say "screw song structure" but took that to an extreme. This is definitely what I'd think of as a psychedelic album, but to a very different extent compared to that of classic 60s rock or stoner metal or anything else. The ambient music bit is good too.

Day 68-4 and Review 100: The Wall by Pink Floyd (Album Choice: Nathan O)

Yes, I have never heard one of the best selling albums of all time in full. Hell, I haven't listened to neither Thriller nor Dark Side Of The Moon in full. I never really felt like it, bite me. I think this is a pretty decent closing album, wouldn't you say? It would've been straight up dumb to conclude with The Director's Cut or something. It doesn't scream end of summer or anything but who cares, I'm satisfied with my choice and you should be too. Or you're a communist.

I remember saying how I don't really understand progressive rock. That's not always the case. There's Ween's The Mollusk, for example!

That's not real prog, you say?

Then there's some great progressive metal out there! I've mentioned my love for Protest The Hero before, an-

Doesn't count? Damnit!

How about Emerson, Lake and Palmer?

They suck, nevermind.

Bad jokes aside, I've heard a couple songs off of this album, and it's not nearly as overlong or impenetrable as most progressive rock. That Magma album, for example, was damn near impossible to understand in more than one way. These guys never really deviated too far from comprehensibility. Of the songs I remember, Comfortably Numb basically sounds like hard psychedelic rock, and Another Brick In The Wall Pt. 2 sounds like disco-infused post-punk to me (despite basically being released at the same time as the first wave of punk rock). Also, I'm not going to review the concept or anything, I can do that by watching the movie. Rather, to extend this review, I'll review each disc individually. That's like one whole extra paragraph!

First couple of tracks are more of that psychedelic hard rock, eventually we reach that same funky post-punk of Another Brick In The Wall Pt. 2 (the prior track basically acting as an intro to that song). Then, we have, what is this? Folk? And this shows just how blind I am to this album, all I can think about for the song Mother is Husker Du. You know, Never Talking To You Again. That song broke the mold after a short time on Zen Arcade. Here, it almost does the same, but like all great folk songs, they include an electric guitar solo among many other songs. The next song is also folk, and a bit purer than the last song. The rest of the album? Psychedelic hard rock and post-punk sounding songs galore. I remember I used to liken progressive rock to basically odd psychedelic rock, when this was the only progressive rock band I knew. Then I realized it was a genre dedicating to wanking. The only real wanking here is the guitar, thank god, and it's not completely overblown. I'm finding it hard to not touch on the concept. It's really clear even if you TRY to pay no attention to the lyrics, and I feel I'm doing the album injustice as well as missing a huge chunk of potential text. Oh well. I'll continue to refrain anyways. Side one is done now. Conclusion? Pretty much what I expected.

I decided to pay attention to the lyrics (but not the concept as a whole, sticking to my word) during the second half. And I stopped. These lyrics are so self-absorbed I refuse to believe they were being 100% serious. There were aspects based upon their former bandmate, but sources I read say that the main character was based primarily off the lyricist. What the hell is this? Madonna's autobiography? Look up the origins again, and he actually felt this way about his fans! Whether or not the instruments are masterful, the lyrics and concept are so narcissistic I refuse to take them seriously. But yes, the song structures and instruments are still top-notch. And look at that, with one simple sentence, the narcissism somewhat redeemed itself with the simple presence of one sentence, "Have I been guilty all this time?". Thank you. The penultimate track (and the real conclusion) puts the "opera" back in "rock opera". And no matter how obnoxious those kinds of sentences are, it's completely true. The last track (and the epilogue) puts a whole "book ends" sort of closure, with the "isn't this where" line and the exact same music as the first song. Maybe I should've played this album on loop! (Hint: That's a dumbass idea).

Was The Wall a good album? Yes. Great? Yes. Fantastic? Maybe, but I don't understand the status that it was given, to be honest. Maybe it's because I didn't pay attention to the concept, but the little I got out of the lyrics were (for the most part) so self-absorbed I can't understand how anyone sympathizes with this album. Yes, the last few tracks basically show how he was wrong, but that's still 23 tracks of narcissism. The music was excellent, and much more comprehensible than the average progressive rock album, so I'll give it that. And check one album off the standard "essential listening" list. There's way too many more to go.

And here ends my writing journey across the summer. It was fun. Now let's look back in a year or two and see how cringe-worthy I find my own writing.

My original plan was to rank all the albums I listened. Rank 100 albums? Screw that! Here's a list in order instead.

1. Repeater + 3 Songs by Fugazi
2. Immersion by Pendulum
3. Metaphorical Music by Nujabes
4. Alien Youth by Skillet (Aborted)
5. The Strange Case Of... by Halestorm
6. Hypnotize by System of a Down
7. A Different Arrangement by Black Marble
8. Pet Sounds by the Beach Boys
9. For Segregationists Only by Johnny Rebel (Aborted)
10. Amy MacDonald - Life In A Beautiful Light (mini)
11. Galaxie 500 - This Is Our Music (mini)
12. Kelis - Flesh Tone (mini)
13. Shooter Jennings - Put The "O" Back in Country (mini)
14. Soundgarden - Superunknown (mini)
15. X - See How We Are (mini)
16. Bundle of Joy by Land of the Loops
17. Mixed Melodies EP by SourceForm (mini)
18. The Director's Cut by Fantomas
19. The Grey Album by Danger Mouse
20. Rescue and Restore by August Burns Red
21. Cult of Mictlan by Oral Fistfuck (mini)
22. The Sophtware Slump by Grandaddy
23. Highly Refined Pirates by Minus The Bear
24. Until The Quiet Comes by Flying Lotus
25. Surtur Rising by Amon Amarth
26. The City EP by Madeon (mini)
27. Transformalin by Diagnose: Lebensgefahr
28. This Is Our Science by Astronautalis
29. For Now I Am Winter by Olafur Arnalds
30. Halycon Digest by Deerhunter
31. Soulbleed by Soulbleed
32. Dusk to Dawn by Emancipator
33. Tempel by Colour Haze
34. Rubenesque by Caligula
35. Black Diamonds by Issues
36. Ground Dweller by Hands Like Houses (I have a strong disdain for Rise Records)
37. Born to Die by Lana Del Rey
38. Kingston Story by Vybz Kartel
39. Tango In The Night by Fleetwood Mac
40. Kollossus of Makedonia by Hurra Torpedo
41. This Couch is Long & Full of Friendship by Tiny Moving Parts (with bonus review of Pac-Man TV Show)
42. The Unforgiving by Within Temptation
43. Melancholia by William Basinski
44. Nocturnes by William Basinski (with bonus review of High School USA)
45. Cheese by Stromae
46. Burzum by Burzum
47. You Can't Tell by Tartan Rascals
48. Demur by Kandma (mini) (with bonus review of Axe Cop)
49. Tattered Youth by Attention
50. Sounds Of The Universe by Depeche Mode
51. Figure 8 by Elliott Smith
52. Greatest Hits by Dave Koz
53. It Was Written by Nas
54. Hard To Be Up by Bangs (LISTEN TO THIS ALBUM)
55. Recovery by Eminem
56. Donuts by J Dilla
57. The White Apple by of Verona
58. This Binary Universe by BT
59. The Hass Effect by Electrocado
60. Not Even Once by Approaching Nirvana
61. Fizzy Fuzzy Big & Buzzy by The Refreshments
62. Classical Mushroom by Infected Mushroom
63. Good and Evil by Tally Hall
64. Commercial Album by The Residents
65. Surfer Rosa by Pixies
66. Opus Eponymous by Ghost
67. Cure for Pain by Morphine
68. Surfing the Void by Klaxons
lol. Pop Tatari by Boredoms
70. Brother, Sister by mewithoutYou
71. Gonglot by Frog Pocket
72. Udu Wudu by Magma
73. 69 Love Songs by The Magnetic Fields (mini)
74. The First Disintegration Loop by William Basinski (mini)
75. #1 Record by Big Star (mini)
76. Fast Forward Eats The Tape by Belvedere (not counting The Freed Weed sentence review)
77. The Glow, Pt. 2 by The Microphones (mini)
78. Oh No by OK Go
79. Up In Flames by Caribou (mini)
80. Fevers and Mirrors by Bright Eyes (mini)
81. Piramida by Efterklang
82. Wonderful Rainbow by Lightning Bolt (mini)
83. Rusty by Rodan (mini)
84. Slanted and Enchanted by Pavement (mini)
85. Lateness of the Hour by Alex Clare
86. Play Hard EP by Krewella (mini)
87. GODLOMANMACHOPANZILLA by Computer Jesus Refrigerator
88. In The Court Of The Crimson King by Crimson King
89. Strong Bad Sings and Other Type Hits by Strong Bad (or Various) (Should've been a mini)
90. Akron/Family by Akron/Family (mini)
91. Nothing Lasts... But Nothing Is Lost by Shpongle
92. Vicious Delicious by Infected Mushroom (mini)
93. Soft Focus by Vanilla
94. October Language by Belong (mini)
95. Thank You Happy Birthday by Cage The Elephant
96. Brontosaurus by Da Vinci's Notebook
97. Castle Talk by Screaming Females
98. La Barca by Thomas Koner
99. cLOUDDEAD by cLOUDDEAD
100. The Wall by Pink Floyd
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Old 09-4-2013, 12:21 AM   #128
Choofers
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Default Re: Daily Music Reviews (Summer Challenge)

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Damn dude, you are awesome as hell.
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