Reviews

Basándome en la portada, pensaba que este disco sería muy indie pop o bedroom pop, pero me he encontrado con algo más dulce y empalagoso que eso. Es un disco con muy buen rollo y con sonidos muy alegres. No es un sonido al que esté demasiado acostumbrada, pero me ha sorprendido para bien. Hay momentos de bajo muy interesantes, como por ejemplo en “Better Than Monday”, “All Night” y “Giddy Up”. Es un disco muy groovy, con toques jazz y funky, donde todas las canciones funcionan bien en conjunto. El hecho de que este disco suene tan a colorines se podría haber vuelto una queja si hubiese sido más largo. Tiene la duración perfecta; no te quedas corto, pero… More

Este disco es pionero del shoegaze y a mí me encanta el shoegaze. Es un género musical que descubrí hace relativamente poco y que ha cambiado por completo la manera en la que escucho música. Este género me gusta sobre todo porque me hace flotar. A pesar de que no estaba demasiado conectada con el disco, “Decay” y “Paralysed” me encantaron, así que lo escuché de nuevo y esta vez sí que conecté. Escucharlo mientras camino hacía clase una mañana algo fresquita me ha sentado muy bien. A partir de “Vapor Trail”, las canciones que siguen son parte de la versión extendida del disco. Son temas con voces y guitarras reverberadas que no te dejan indiferente. La introducción, el estribillo… More

don't give a fuck, perfect record, write your congressman if the 5* ticks you off

Tras años, puede que casi quince, sin escucharlo de nuevo, ayer volví a recorrerlo al completo. Y reconocí y volví a notar muchas de las sensaciones de aquellas antiguas escuchas, así que terminé contento de haber atesorado las impresiones de la adolescencia después de tanto y de todo lo vivido.

Sigo sabiéndome “Pictures of you” de memoria.

Nice running to this classic rock masterpiece. Not even their best.

I love Nick but I am bit tired of his “persona”. But if I concentrate on songs, more I listen more I like. Great songs once again.

Nice to listen but it reminds me so much to those great 90s records. Which is good in one sense but not overpass them.

It’s 11 years since the evergreen Christmas LP, Quality Street, and for various reasons Nick Lowe had suggested that’d be his final proper album. However, backed up by the unlikely backing band Los Straitjackets - surf instrumental specialists who perform in Mexican wrestling masks - another entry in Nick’s meandering but always rewarding discography has taken shape.

Almost all of these songs have trickled out on singles and LPs over the past 6 years or so, but they’re re-recorded here and sequenced expertly alongside a couple of new ideas, including the punchy opener ‘Went To A Party’. Across 37 minutes, Los Straitjackets allow Nick to mix elements of his 60-year career into an easy-drinking cocktail. Tracks… More

A logical evolution of their previous (also great) album, Zapandú. This album lives at an incredible intersection between listenable and abrasive (lyrically, sonically). They're so cool.

Kinda turnkey pop but I can’t hate it.

Diese Band ist unfähig, ein schlechtes Album rauszubringen. Seit über 10 Jahren liefern sie ein großes Album nach dem anderen.

Al principio no me estaba molando mucho pero luego he bajado a por unas pizzas con él en los cascos y cada persona que me cruzaba me he emparanoiado con que me las querían quitar así que creo que el disco ha conseguido su objetivo. Recomiendo.

The most recent LP from the epic garage rock quintet is definitely an experience. Bringing us familiar high-energy hits like “Also the Gorilla” paired with some more electronic experiments with “Cochon d’Argent” and “Cassius, Brutus & Judas”, there’s a testament to Osees’ ability to continue to give us reasons to stay excited about them. However, with the experimentation and looser spirit in this record comes some inconsistency, providing some lulls that draw your attention elsewhere.

Imposible no oir constantemente ecos a Ben Kweller y a Courtney Barnett.

I popped the CD in the car and revisited this for the first time in years. It is of course a beautiful album and towering achievement. My son wanted 'Sloop John B' on repeat. But 'I Just Wasn't Made For These Times' remains my absolute favourite, packed with even more lush, ingenious moments than the rest of it...not least the haunted variation on the chorus chord sequence that emerges for the coda and fade-out.

After a run of ethereal, mournful albums that left Nick’s singing and speak-singing exposed atop Warren Ellis’ quivering synths and queasy loops, Wild God is the first work in a while that makes full use of the Bad Seeds.

The more feral and jubilant moments on Carnage – a lockdown project credited to just Cave and Ellis – hinted at what might await us once the Bad Seeds could get back in a room together, but still they exceed expectations. It’s particularly special to hear Tommy Wydler on drums again. Rejuvenated after a long illness,, he announces himself in the very first second with a walloping, cymbal-cracking performance on ‘Song of the Lake’, a contender for their best album opener… More

This is amazing front to back. Possibly even great than Ladies & Gents.

I love Rakim's work with Eric B. I love parts of what he did solo, until now.

This album consists of:

• God worship

• Featured artists worshipping Rakim

• Rakim rapping some mathematics and life stuff

• Featured artists rapping about b!tches, money, clothes

Perfect pop for perfectly sad people

The nature of "novelty music" is an interesting phenomenon related to the way in which we participate as audience to people making music. I tend to be a bit defensive about people dismissing music like the work of They Might Be Giants as "novelty", so what does it mean that I've observed much of the lifespan of The Mountain Goats' discography and wrestled with what I like and don't about the music he's made since the release of Beat the Champ in 2015?

Almost all of these albums have been marketed as having a "gimmick" of some kind, and I think the temptation has been to treat them as concept albums, but I think in general it's still just... John… More

sus to give this below a 5* IMHO have a backbone, have a spine

perfect album

These guys really delivered a banger. Pummeling doom infused death metal with mysterious and murky texture all throughout the album. This album really does feel purple - weird synesthesia effect for sure.

A pretty, pretty batshit album

[guy who has listened to Funkadelic for two weeks] Eddie Hazel that’s a GOAT right there

real rock music for real rockers

...perhaps "brat summer" wasnt for me after all.

Uno de los discos que formaron el sonido del Death Metal así aun suene un poco Trash. Chuck siempre será una leyenda.

"Picacho" and "2 Cups Stuffed" are still some of the hottest Thug tracks around. Thugger really sounds a lot like Wayne still here but you can hear the start of how his style continues to evolve with the more melodic Thom Yorke-esque vocals.

The first track is by far the bangeriest

“Tell Me Where to Go” feels like XXX/Old era Danny Brown and phenomenal

Sometimes I wonder if you’d been a dog in a previous life
and not quite made
the transition
properly
?

提供了一个非常私密的入口，让我们得以窥探乐队在 96年左右的一个创作状态和审美取向


It provides a very intimate entry point that allows us to glimpse the band's creative state and aesthetic orientation around 1996

El primer disco de sepultura es una combinación de Trash y Death Metal acompañado por letras muy influenciadas por el metal extremo de la época con un Inglés bastante pobre. Ojalá hubieran grabado las canciones en portugués.

EL blue-print del Black Metal, el extreme-metal de Bathory es crudo, es rápido y desgarrador; lleno de referencias oscuras y satánicas.

Debía ser porque estaban más baratos pero de adolescente orbitaban hacia mí este tipo de discos antes que los principales de los grupos. De ahí me había comprado o me habían regalado el Melancholy Collection de Millencolin, el Songs from the crypt de Satanic Surfers y este también. Las canciones de Vision no pasan del aprobado, lo que se suele esperar de un debut pero las de Stranded con Ingemar a la voz ya son mucho más aprovechables. De las versiones reniegan un poco pero yo salí de ahí fan de Elvis Costello, que no es poco. A partir de ahí hay alguna cara B bastante potable y un final de compilación con 4 temas bastante olvidables. Está bien pero… More

The production and brash pen from Peggy, the lyricism and flow from Danny makes this, minute for minute, one of the strongest rap records of the decade.

My favorite track is “Kingdom Hearts Key” and it’s so fucking good that it should’ve been the last track because even the great tracks after this in the listing feel minor in comparison.

I fucks with it heavy.

I feel weird trying to say if this is good or bad since I’m not well versed in metal. I can say I vibed with it, tho. Uh 4 stars for vibing with it I guess?

Es una obra maestra. Este tío es un genio.

Es un álbum hecho con mucho mimo, en el que además apenas disfraza con metáforas ni demasiado artilugio nada de lo que quiere transmitir. Va al grano, habla con mucha belleza sobre salud mental, adicción, apego, y en general vivir en este puto mundo.

Vaya panzada a llorar teniendo la ropa ayer.

"And if you're sick of goin' through hell
Just know that I've been right there as well
It always go away after time passes by
So stick around and try"

在第一次接触某个乐队时，我会先选择他们的第一张专辑，再按照时间顺序往下听，某种程度上你会体会到作为一个整体，乐队发生的变化，和审美上的偏好。

Cars 的这张专辑对一部分歌迷会是惊喜，也可能是失望。更多的旋律走向，乐器穿插取代了以往的噪音墙，少了听觉上的冲击，但更能体会到意境或者情绪上的传递，某种程度上信息是更加丰富。吉他贝斯鼓在这张专辑里让我很快想到了 Yo La Tengo 或者是地下丝绒的质感，但因为环境的不同，表达的主题是不同且值得我们思考的。

When I first encounter a band, I will choose their first album and then listen to them in chronological order. To some extent, you will experience the changes the band undergoes as a whole and their aesthetic preferences.

This album by Cars may be a surprise to some fans, but it could also be disappointing. There are more melodic directions, and the interspersing of instruments has replaced the previous wall of noise, resulting in less auditory impact, but allowing for a greater appreciation of the conveyed atmosphere or emotions; in some ways, the information is richer. The guitar, bass,… More

There are very few band compilations that can best this one. As one of the Reid brothers said, they did mash the sentiments of North American 1960s girl groups and Einstürzende Neubauten.

In spite of this band being racist, homophobic, and anti-feminist (just check the lyrics to 'One in a Million' and Axl's fights against Nirvana) I do actually dig some of the songs here.