Finally! Updates.

Before you dig in, two things.

First - this blog is a pain in the ass to format. If I get back into doing it seriously, I'm going to consider trying wordpress or some other crap. I'll bring over all the old reviews, for sure.

Second - These last six reviews are oldddd. I chalked them up at work but my busy schedule* prevented me from posting them. Added bonus for this? I've got post scripts on some of them to let you know if the album is still good or not after listening to it a couple of times. Boom.









*thinking up of dumb ideas for T.V. Shows such as Crime Dog (copyright TB 2013).

Raekwon - Only Built for Cuban Linx (feat Ghostface Killah)

Rainy Dayz - Raekwon ft. Ghostface Killah/Blue Raspberry

Freakin tune! Check those beats. Ghostface's opening lines pretty much highlight my point as to why he works so well on this album.

I want to preface this review by saying that there’s also a bit in here about ‘Cuban Linx 2’, the follow up to this album, and how I’m interpreting the importance of the interplay between good MCs and producers. Let’s have a chat if you’ve got any ideas or think I’m full of shit.

I’ve been getting into a big Wu-Tang hip-hop phase lately and my adventures have taken my ears down some new and exciting avenues. So far I’ve gone through Enter the Wu-Tang, Wu-Tang Forever, GZA’s Liquid Swords, Ghostface’s most recent 12 reasons to die, half way through Ghostface’s Supreme Clientele and got through Only Built 4 Cuban Linx pt.2… along with this album.

Now before I started listening to it, I read that it received rave reviews, and was comparatable to GZA’s Liquid Swords as a strong competitor for one of the greatest Wu-Tang solo efforts, if not hip-hop albums of the 90s. A lot of reviewers, magazines and the like will confirm this, both reviews that were contemporary to the album’s release and several retrospective reviews.

But shit man, I don’t know! I really don’t know.

Honestly, a lot of what I found good on this album came from Ghostface’s work on the album. Every song where he featured, every line he spat, absolute gold. Now there’s a lot of his input, he’s a major collaborator on the album, but I think it fell a little bit short compared to the rest of the Wu-Tang stuff I’ve been hearing.

The album sprawls for a lengthy 18 tracks and a lot of it is good, well produced and full of interesting lyrical themes, other featured Wu-Tang artists and was considered ground-breaking at the time, but I can’t enjoy Raekwon’s rapping as much as other Wu-Tang artists. I think he’s good at what he does, but half the brilliance of the other Wu-Tang artists comes from the fact that they work really well with each-other, but above all with RZA’s heavy drum and smooth sampling approach to production. Maybe what really got me here is the length of the album – 18 tracks is difficult to sling while keeping fresh and original, and while the start and the finish of the album has some solid tracks, there’s a bit in the middle that I couldn’t enjoy. I also wasn’t too sure that ‘Can it be all so simple’ really needed that remix.

That said, there’s some tracks where it all works really well. Incarcerated Scarfaces is a smooth track and Raekwon hit the nail on the head with that one. Rainy Dayz is well produced, catchy as hell and Ghostface’s opening rap is smoothly delivered. There’s a reason this album is considered a classic, I just don’t believe it’s on the same level as Liquid Swords.

Now that said, go check out Only Built 4 Cuban Linx 2. It was actually a really good, albeit different (thanks to the difference in 90s and late 2000s production) album. What’s more, Rae’s rapping is way easier to get, either he’s learned out to enunciate or the production was so well done that it made him more audible than this album. Maybe both! Sadly though, not a lot of people heard the album and while critically it deserves the praise it got, Hip-hop has taken an ugly turn in the space between the release of both albums meaning it got largely ignored.

American Football - Self Titled LP

American Football - Never Meant

Sigh.

Mike Kinsella of Capt’n Jazz fame went on after the band dissolved and created American Football, an indie/Midwest emo band which featured floaty guitars, songs about goodbye and odd drumming rhythms. They only released an album and an EP (as far as I know?), both of which were self titled. This review concerns the album, one that’s slowly crawling in as a standout and a favourite in my books.

The album is a healthy crossover of intricate guitar work exhibitioned by acoustic folk artists such as Elliot Smith, mixed with indie-rock band ethic, the strange rhythms similar to unwound in a way. Kinsella’s voice isn’t about yelling as it was with cap’n jazz, but more about floating smoothly over the rest of the song, creating an effect that has been described as ‘ethereal’ by other listeners.

The album sticks close to a single style and doesn’t really change around much from track to track, although the songs are pretty varied in terms of timing. there’s short and catchy songs such as ‘Honestly’ or drawn out tracks such as ‘Leave Home’, a build-up of layered guitar and drumming. As far as song structure goes, it’s all very aesthetically pleasing, calm, and fresh – a brilliant sound that should be replicated but may have gone unheard by many. Give this album a listen if you’re into calmer music and I guarantee you won’t be disappointed.

GZA/The Genius - Liquid Swords (WU-TANG!)

GZA - Living in the World Today
So hard to pick a favourite. This might be it if not just for the awesome bassey production.

So recently I’ve found out that one of the most fun practices in my life involved cooking up dinner whilst listening to Enter the Wu-Tang. Maybe that’s a reflection on how boring things have gotten in my life the moment, or more so a reflection on what my weird idea of fun is. As a result of this, I decided I’d get into a few more Wu-Tang hip hop records, the best of these so far being GZA’s Liquid Swords.

I did a bit of homework before I listened to it. People were saying it was a contender for one of the best hip-hop albums of all time, and I didn’t quite realise what that meant until I’d listened to it. This album was way ahead of its time, and despite hip-hop not being my main calling, I’ve got an appreciation of this which is throwing it up as one of the best albums I’ve listened to. RZA’s production fluctuated from that gangsta beat style he nailed on Enter the Wu-Tang, to a dark, heavy groove. GZA’s rhymes highlight why he’s called The Genius, his lyrical style shows a certain cleverness that put him a cut above other lyricists of the time. Besides this, I think all the members of the Wu-Tang Clan were featured in some capacity on the album with especially commendable input from Ghostface Killah on 4th chamber and Method Man on Shadowboxin. This still keeps the feel of a Wu-Tang album while being a little bit heavier, due to the nature of the production.

This album is filled front to back with solid hip-hop songs. Not a single skippable track. Like I said, even if you aren’t into hip-hop, there’s a good chance you’ll be able to get into this. It’s good, sometimes gritty but always awesome. GET INTO IT!

P.s.

So yeah, this might be my favourite hip-hop album ever. GZA might be my favourite Wu-Tang member because of it after RZA, who is probably my new-found god of producing. Guy knows how to fucking work *with* the music, not just alongside it.

Iceage - You're Nothing

Iceage - Morals

Piano? Punk bridge? It can be done - and how!

Ok, first impression I got from this was that it was tuneless wailing over over-fuzzed punk instrumentals, you know, the vibe you get from bands who you don’t believe have a fucking clue what they’re doing. Then I got about 8 minutes into the album and it began blowing my mind.

There’s a stack of catchy, well written songs here with intense drumming and unique riffwork. The vocals are rarely in tune which ends up complementing most of the songs in its own weird style, kind of in the same way that hardcore punk vocals help the music out by being its own instrument. You don’t believe me – and it’s hard to explain, but it works. Like maple syrup and bacon (kinda sorta). There’s a real energy to it that’s signature of punk rock but the sound divorces itself from the normal groundwork by the unconventional use of the fuzzed out guitar and the weird wailing, and this is where it’s strength lies. It’s got a strong feel of originality to it, and it doesn’t allow itself to stagnate and become repetitive.

They’re also clever enough to mix a couple of different styles into the album as well. The track - Awake has a rock and roll bridging riff near to the end, Ecstasy has it’s own mix of noise-rock instrument work with snappy drums and Morals, my personal favourite track, mixes a piano build-up with a furious punk chorus.

Honestly a lot of people are dissing on it because some of the guitar is indecipherable at stages. This is a great album for noise-rock enthusiasts and indie punks alike. Give it a go. Three or four tracks in and I promise you’ll love it.

P.s.

So once again, this is an old review I failed to publish earlier. What I'd like to say is that I still give this album a spin, if only for Morals. there's some decent stuff here, but Morals is just a standout.

Baths - Obsidian

Baths - Miasma Sky

I reckon this is/has made it as one of the album's singles. Check below for a track by track album review.

Might not do a whole review here, time doesn’t really permit it with my work these days, so I’ll chalk up a review from youtube clips I’ve had a gander at!

Obsidian seems like a pretty decent glitch-pop album from what I’ve gathered. Vocals are pretty relaxed, some of the sounds resemble a remixed 8-bit noise. There’s piano work as well. It’s all a bit familiar though, kind of reminiscent of the Australian electro-indie scene that’s sprung up over the past couple of years. Some of the beats are pretty wicked as well. No Eyes has a hard synth drum roll. Lyrical use seems to be conciencious too, the words ‘fuck me’ used with emphasis for an impact effect.

Ambient parts are really well done. A lot of the construction done on the songs are intense. Worsening has a good climatic effect and jumps from soft to hard electronica.

Worsening – Good blend between art-pop and electro. Super chilled then thumping. Wicked piano work, really beautiful.
Miasma Sky – Think this is a single if ever I heard one. I mean the lyrics are pretty downbeat and that’s cool and all, but the song as a whole is pretty poppy and reminds me of a couple of the other electro-pop acts which I’ve HATED over previous years.
Ironworks – not sure. Perhaps unconvinced. The piano and violin work is pretty nice, but the vocals aren’t doing much for me, and the deep groove the drums are throwing down isn’t quite doing it either. Although the bridge is pretty good.
Ossuary – High bass and catchy drum lines gives it a post-punk sound, kinda. I really like the bass line and this might be my favourite track so far. It’s both funky AND electro!
Incompatible – I mean I like the glitch sounds and stuff, but I think these slow tracks are kind of the opposite of what I like about the album.  Honestly this track does nothing for me. Love the rest of the album.
No Eyes – I dig the big electronic drum smash, almost metronomic. Lyrically it’s solid, and he beats out the words ‘fuck me’ with various inflections throughout the track to hit the listener. Plus there’s a build-up throughout the whole thang! By this stage of the album, you can tell this guy knows how to make a song.
Phaedra – Cool fuzz drums with a rapid beat. Plus building pianos. And experimental chimes! Vocals aren’t too abrasive… lyrically is kind of ow. ‘Phaedra it is you that made me want to kill myself’? Phwooar. I mean it’s like a mash-up of an emo piano track mashed up with drum and bass and it WORKS.
No past lives – don’t know what to think at first. There’s a deep synth groove but he breaks it up with a really weird piano line. Also breaks it up with glitch parts which are actually pretty cool… he leaves the weird piano and lets you get on with the track though and it’s pretty smooth if not a bit dark.
Earth Death – Heavy drums and bass. I really liked this one on the first run through. Kind of sliiightly reminds me of older stuff by ‘the knife’ (I say that loosely, I never properly sat and LISTENED to them if you get me.). maybe a little less ambitious than the rest of the album, but a cool song nonetheless.
Inter – light guitar with the weird, orchestral warbling he uses throughout parts of the album. Bit of a flat track, but it kind of works as a fade out, and lets face it, the album gets pretty intense by the end of it. You kind of need a break and this track is it.

Yeah, shit. I’m actually willing to give this a full five stars. It’s really well constructed and sets moods. I can’t say I’m a fan of the vocals all the way through, but the quality of the music is just mind-blowingly good.

I wrote this review a couple of months back and now looking back on it, while I believe it was a good album, Obsidian didn't have any staying power. There's no aesthetic that draws me back to it. A one night stand album I guess.

Joy Division - Unknown Pleasures

Joy Division - New Day Fades

Pretty epic build-up if I do say so myself.

Look, I don’t think I need to give these guys a proper review. It’s an album that’s been well received and still features in pop culture since it’s release in ’79, popping the fuck up all over t-shirts everywhere, movies and documentaries, the sound constantly being ripped off by bands like Interpol, editors and that third really shitty band my brother likes (the vaccines I think? And to be fair stuff of their second album is actually ok), so on, so forth. I’ll dot point this and make it quick.


1.       Ian Curtis’ voice is unique and different enough to warrant copying.

2.       Peter Hook’s bass use includes him playing it as if it were lead guitar (for more info, see: awesome)

3.       Guitar uses a lot of reverb, supports it all very well.

4.       Drums are snappy (I say this a lot)

5.       Song construction is different, involving. Really climatic at times through creation of mood, slow rolling bass and drum lines with guitar steadily rising above it all.

I mean if I had to say two parts of this album were able to change the face of music, it’d be Curtis’ voice and the construction. Hook’s highs are a nice bonus and should have set a trend for more bassists but I can’t find any examples which is super weird.

Anyway listen to it. Some of the tracks have aged well, but I wouldn’t say all of them by any means – the album starts getting good by about three or so songs in but kind of drifts out at the end.

That’s all. Go listen.