Dat was my last.fm pre-enlightenment. Also, read the blurb I posted on the side. Oh, and add me on Last.fm!
I have a similar problem. A lot of artists I used to listen heavily in the past occupy too many high positions on the current list. I listen to a lot more different music now, so a lot of "newer" artists have a hard time competing with my "old" 00s artists since there were fewer of them. I still kept them though, but it will take a couple more years to fully "reflect" my overall taste, that's why I don't post my last fm. I'll add you though.
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What's your thoughts on Ariana's album? Is it worth downloading?
I have a similar problem. A lot of artists I used to listen heavily in the past occupy too many high positions on the current list. I listen to a lot more different music now, so a lot of "newer" artists have a hard time competing with my "old" 00s artists since there were fewer of them. I still kept them though, but it will take a couple more years to fully "reflect" my overall taste, that's why I don't post my last fm. I'll add you though.
--
What's your thoughts on Ariana's album? Is it worth downloading?
Yep. My top 10 played artists were all above 1,000 plays, and I was not really consistently playing any of them anymore. I just took a screenshot of my old plays (for memories n such) then reset it. Thanks for the add!
I honestly did not like Ariana's new album at all. It is definitely a step down from her debut. I don't listen to her at all though, so my opinion only comes from going through each of her albums once.
Pitchfork's Top 100 Albums of 2010s (Albums I Have Listened To In Full So Far):
#1, #2, #3, #5, #6, #8, #9, #10, #12, #13, #14, #15, #19, #21, #22, #24, #29, #31, #33, #36, #37, #39, #40, #41, #43, #44, #46, #48, #49, #50, #52, #53, #55, #56, #57, #60, #61, #64, #65, #67, #74, #75, #76, #78, #87, #88, #89, #90, #92, #93, #94, #95, #97, #99
My thoughts on Tim Hecker's 'Ravedeath, 1972':
So this is yet another ambient album present on this list. It seems that Pitchfork really appreciates the ambient genre. Haha. Anyway, this album utilizes a style known as Drone music, which I find very intriguing (on this album), because of the way it really makes you feel. This is music that you should listen to with your eyes closed, and your mind open. There is feeling in this music, no doubt, but is it enough to allure the listener? I am not sure. 'Ravedeath, 1972' has some incredibly beautiful and simply mesmerizing moments, but also has some moments of weakness and mediocrity. For every track that evokes wonder, there is one that evokes ambivalence. In essence, I enjoyed a few tracks, and I did not enjoy others. "The Piano Drop", "In the Fog II", "Hatred of Music I", "Hatred of Music II", "Studio Suicide, 1980" and "In the Air III" are the standouts of the record and balance it. Ultimately, I would consider this album to be relatively good, but lacking consistent strength throughout its entirety.
Pitchfork's Top 100 Albums of 2010s (Albums I Have Listened To In Full So Far):
#1, #2, #3, #5, #6, #8, #9, #10, #12, #13, #14, #15, #19, #21, #22, #24, #29, #31, #33, #36, #37, #39, #40, #41, #43, #44, #46, #48, #49, #50, #52, #53, #55, #56, #57, #60, #61, #64, #65, #67, #74, #75, #76, #78, #87, #88, #89, #90, #91, #92, #93, #94, #95, #97, #99
My thoughts on Actress' 'Splazsh':
I feel that this album is not very dynamic. In other words, when you here the beginning electronic baseline of the track at the beginning, it will change very little, or not change at all. The intricacies that come in between in the production really are not very interesting either. Simply put, not enough of anything is happening for me to really enjoy this album. It also fails to really capture me in the same way that most electronic music of this nature usually does. Something is seemingly missing here on 'Splazsh', and that is the fact that there is no HEART in this record. The music feels very bleak and lifeless, and thus disconnected me from the artist creating it and the album itself. Ultimately, there were very few standouts on this record ("Maze"), but nearly all of them felt utterly lifeless and really did not interest me, and as a result I would have to say that this record is more of a failure than a success.
2013 was a great year for ambient/electronic experimental: Jon Hopkins, Tim Hecker, F uck Buttons, Boards of Canada, Burial, The Haxan Cloak, Oneohtrix Point Never all delivered great records.
Tim Hecker is probably one of the most emotionally triggering artists I heard last year. Virgins struck me with this deep feeling of helplessness, it was really intense and sad. All of that also was accentuated by the painful and heavy percussion elements.
Ravedeath, 1972 is a little bit more straight forward and seamless, you're walking in the icy road but never go off balance.
It has cloudy glimpses of hope, which he completely disregarded for Virgins.
Also, this is my favorite Actress song. It's like candy when compared to the rest of its parent album, R.I.P., but make no mistake because never has peace felt so claustrophobic.
Inception - I haven't listened to that Tim Hecker album. I will eventually though ^. I heard his one from last year. The one I heard was pretty cool I thought. It had it's moments of beauty. I don't know if there is a huge difference between his albums though.
Also, I don't think I've heard that actress album yet either. I have R.I.P. and kind of like it, but there are definitely better albums and better electronic albums that are similar (the one by Andy Stott comes to mind) Curious to listen to Splazsh now.
Eric. - I have albums by all the artist you listed (except for the Haxan Cloak which I do not have anything by)
How does the Oneohtrix record compare to Replica? I love Replica, I think I haven't gotten his new one yet because he moved labels and I couldn't get the album.
I really want to Jon Hopkins album, I've wanted it since last year, but really want it now because he produced Coldplay's midnight which is one of my favorite tracks of the year
2013 was a great year for ambient/electronic experimental: Jon Hopkins, Tim Hecker, F uck Buttons, Boards of Canada, Burial, The Haxan Cloak, Oneohtrix Point Never all delivered great records.
Tim Hecker is probably one of the most emotionally triggering artists I heard last year. Virgins struck me with this deep feeling of helplessness, it was really intense and sad. All of that also was accentuated by the painful and heavy percussion elements.
Ravedeath, 1972 is a little bit more straight forward and seamless, you're walking in the icy road but never go off balance.
It has cloudy glimpses of hope, which he completely disregarded for Virgins.
Also, this is my favorite Actress song. It's like candy when compared to the rest of its parent album, R.I.P., but make no mistake because never has peace felt so claustrophobic.
Agree, but I did not really connect emotionally with Ravedeath, 1972 as much as I did with other electronic albums on this list. I expected a lot better from that Actress record as well, I will take a listen to this track that you posted though. Thanks!
Quote:
Originally posted by Bloomers
Inception - I haven't listened to that Tim Hecker album. I will eventually though ^. I heard his one from last year. The one I heard was pretty cool I thought. It had it's moments of beauty. I don't know if there is a huge difference between his albums though.
Also, I don't think I've heard that actress album yet either. I have R.I.P. and kind of like it, but there are definitely better albums and better electronic albums that are similar (the one by Andy Stott comes to mind) Curious to listen to Splazsh now.
Yeah, I liked the Andy Stott record better than Splazsh for sure. I think Splazsh is one of the weaker records on this list overall. I really did not enjoy too much from it.
Pitchfork's Top 100 Albums of 2010s (Albums I Have Listened To In Full So Far):
#1, #2, #3, #5, #6, #8, #9, #10, #12, #13, #14, #15, #19, #21, #22, #24, #29, #31, #33, #36, #37, #39, #40, #41, #43, #44, #46, #48, #49, #50, #52, #53, #55, #56, #57, #60, #61, #64, #65, #67, #74, #75, #76, #78, #86, #87, #88, #89, #90, #91, #92, #93, #94, #95, #97, #99
My thoughts on Real Estate's 'Atlas':
Ok, so I found 'Atlas' a lot more interesting than 'Days' definitely, and do not see why the albums are ranked so far apart when there really is not an incredible difference in quality between these records. 'Atlas' has more songs that were able to maintain my interest, unlike 'Days', and offered a more dynamic and interesting sound. The standout tracks for me were "Talking Backwards", "April's Song", "Primitive" and "Horizon", which were all very pleasant and possessed a great carefree quality to them. Although there were some nice standouts on this record though, I feel that this album still struggles in the same way that 'Days' does (not to the same degree though) with keeping the listener interested all the way through the record. The high moments of interest on 'Atlas' still were met with the moments of boredom and mediocrity. Overall, it is a decent collection of songs though, and it is worth listening to, if only for the high points.
I really want to Jon Hopkins album, I've wanted it since last year, but really want it now because he produced Coldplay's midnight which is one of my favorite tracks of the year
Forest Swords' Engravings and Jon Hopkins' Immunity were my favorite electronic albums of 2013. "Breathe This Air" is beyond amazing. Purity Ring version is good but I prefer Jon solo.
Pitchfork's Top 100 Albums of 2010s (Albums I Have Listened To In Full So Far):
#1, #2, #3, #5, #6, #8, #9, #10, #12, #13, #14, #15, #17, #19, #21, #22, #24, #29, #31, #33, #36, #37, #39, #40, #41, #43, #44, #46, #48, #49, #50, #52, #53, #55, #56, #57, #60, #61, #64, #65, #67, #74, #75, #76, #78, #86, #87, #88, #89, #90, #91, #92, #93, #94, #95, #97, #99
My thoughts on Swans' 'The Seer':
My God, this album is intimidating. The only way to truly describe my experience with this record is to evaluate it track-by-track (and this is a "live commentary" of sorts as I will be typing my reaction as I listen to each song). "Lunacy" is the first track on this two hour long experience, and the part with the constant chanting... "Lunacy, Lunacy, Lunacy" really just got to me. I felt like I was about to be killed by the eerie looking creature on the cover of this album, almost like it would jump out of the screen and devour my heart. Yeah, in a sense I was acting like a crazy person from only one track of 'The Seer'... almost like a lunatic. I guess that really is telling of the incredible power of the music on this album. "Mother of the World" really is a hypnotic and haunting, perhaps almost nightmarish, track. At almost ten minutes in length, this track is a transforming experience, from the instrumental beginnings to the crisp and hard vocals that close it out. "The Wolf" is the shortest track on the record, being barely over one minute and serving as the transition essentially from the ten minute "Mother of the World" to the intensely long "The Seer". It is a relatively simple track, but damn is it disturbing. The vocals and lyrics are simply haunting and appear to lead you right into the devastating horror of "The Seer".
Ok, so I feel that this next track "The Seer", deserves its own paragraph because of its extensive length. So, here is my first impression of this track. "The Seer" starts off relatively warm for the darkness of "The Wolf", not delving into any terrifying musical direction. The track begins to build over the course of the first eight minutes, with the first vocals beginning to become evident. By the ten minute mark I would begin to say that things begin to sound a little chaotic, but of course in a way that is still incredibly alluring. Right before the twelve minute mark "The Seer" starts to take off! I would say by this point, I feel completely and totally overwhelmed by its presence. It feels almost like it is consuming you, like your mind is being taken over. Clashing noise echos through my mind, and we have now reached the halfway point. After a minor period of hypnotic clashes, the chaos returns in all of its fully fledged glory. At the twenty minute mark it becomes evident that this track is just relishing in its own insanity. You are captured, being forced to listen as it cries out to the midnight sky, howling in its fury. A crying harmonica (?) joins in, almost reflecting the sounds of a lost and distressed mind. At the twenty-six minute mark I would say that things truly begin to slow down, with only the dying sounds of a harmonica (?), until the track picks up again at the twenty-eight minute mark. Vocals finally return for the first time since the eight minute mark in the song. I would describe them as almost reflecting a being who has from listening to this very song has become insane, almost sounding like incoherent rambling. Like their mind has been possessed, and they are merely spewing nonsense. The track closes out, and leaves you really wondering what you just experienced. It feels as though it is a experience of possibly becoming insane as a result of what you see. Perhaps, it is an audio reflection of the process of insanity, how it slowly creeps up on you, overtakes you and destroys your mind, and leaves a desolate and lost soul.
After that rather insane experience we move onto the latter half of disc one with the essential continuation of "The Seer" in "The Seer Returns". This track is much shorter than its predecessor however, clocking in at only six minutes in length. I found the vocals to be rather interesting and innately creepy, but in a way that is more intriguing than terrifying. It flows very well and is actually rather enjoyable to listen to as a standalone work, even when not considering the thirty-two minute epic that came before it. "93 Ave. Blues" I swear could be taken right out of a horror film. The ominous sound of this track is simply unnerving and will put you on edge, seemingly right where Swans' want you to be. If you played this song on Halloween night at your haunted house, you would surely frighten everyone, including yourself. This track is filled with wails, seemingly of canine creatures and the apparent chanting of possessed minds. At the end, it even pulls the classic horror trick, quickly frightening the **** out of you by suddenly clashing with a loud barrage of noise. Believe me, it worked too. Lmao. The final track on disc one is a rather pleasant endeavor considering the track that just preceded it. Yes, "The Daughter Brings The Water" still has its share of darkness to it, but similar to "The Seer Returns" it is enjoyable to listen to, even while possessing this quality.
So now begins disc two of 'The Seer', after the relatively terrifying and insane aura of the first disc, I am expecting it to be somewhat lighter in its musical direction. "Song for a Warrior" which features the incredible Karen O is actually just beautiful. It is a breath of fresh air, and a moment of relief from the clashing darkness that came before it. It really shows how incredibly versatile Swans are on this record, and I absolutely love it. After that truly beautiful moment, the sounds of church bells usher in the next track "Avatar". This is another track that builds over the course of its eight minutes, and really evolves in its sound. However, while the tracks on disc one would transform into a haunting reality, "Avatar" really never does. Instead, it becomes a song of strength and power rather than one of terror. And finally this brings us to the final two tracks, both extensive in length with "A Piece of the Sky" being the first one at 19:10. This track starts off beautifully, with the sounds of a fire (?), moving into the chants of souls. The song appears to be the more atmospheric, almost drone like song of the album for the first part, remaining relatively consistent, until the seven-minute mark when things start to pick up. This time however, it is not with clashing guitars and heavy instrumentation, but with a lighter sound, one that is uplifting. It maintains this vibe and keeps it strong until the end of the track. In the end, I would characterize it as an instrumental track of energy and power, that ends beautifully. "Apostate" is the final track on the record at 23:01 minutes, and at this point I am nearly exhausted of this record. It is another heavy sounding track, and another gradual builder in sound and power. Eventually with lyrics "Get out of mind" we really get a sense of closure to this long epic of an album. We have experienced this incredible journey in 'The Seer', and it is time to move on, and get the insanity out of our minds.
Ultimately, 'The Seer' has left me utterly exhausted. It is an incredibly powerful record to marvel at, but damn is it intimidating. It is record that at some points will scare the living **** out of you with its terrifying musical direction and haunting style, and make you cry at others because of its sheer beauty. The longer tracks on the record are musical marvels in their own right, as I cannot even imagine the amount of work that went into creating them. I do not know if I ever want to experience, or ever will experience an album as demanding as 'The Seer' again. It is two hours of fear, heart, power, energy, beauty, and everything in between. It is a record that will force itself on your mind, you WILL give it attention, because you must. It takes hold of your mind and screams into your soul, and is relentless in this fact, whether you find its insanity enjoyable (like on "Lunacy", "Mother of the World", "The Wolf", "The Seer Returns", "The Daughter Brings The Water", "Song for a Warrior", "Avatar", or "A Piece of the Sky") or terrifying and utterly overwhelming (like on "The Seer", "93 Ave. Blues" or "Apostate") is strictly up to you, however 'The Seer' does not care. 'The Seer' is only there to invade you like a parasite and infest your mind during its time with you, what you think is irrelevant.
Not a Pitchfork-lenght review for Swans. Someday I might get into them, the intensity of your experience makes me even more interested. Sounds crazy how an album so long can demand and keep your attention so much.
Not a Pitchfork-lenght review for Swans. Someday I might get into them, the intensity of your experience makes me even more interested. Sounds crazy how an album so long can demand and keep your attention so much.
I really just got sucked into my own interpretation of the work, because I found this album incredibly intriguing. This albums evokes a feeling of terror and feels incredibly cinematic (I mean... it is long enough to be a film ) so it only feels right to review it in such a way. This album could be the score for an incredibly disturbing horror film, and it would fit perfectly. That is why it was able to hold my attention for so long, it was a journey of sorts (a terrifying one), and after every track I wanted to see how the experience would conclude.
Pitchfork's Top 100 Albums of 2010s (Albums I Have Listened To In Full So Far):
#1, #2, #3, #5, #6, #8, #9, #10, #12, #13, #14, #15, #17, #19, #21, #22, #24, #29, #31, #33, #36, #37, #39, #40, #41, #43, #44, #46, #48, #49, #50, #52, #53, #55, #56, #57, #60, #61, #64, #65, #67, #74, #75, #76, #78, #81, #86, #87, #88, #89, #90, #91, #92, #93, #94, #95, #97, #99
My thoughts on Ariel Pink's Haunted Graffiti's 'Mature Themes':
I feel that this album possesses a vibe that can be very polarizing. When done correctly, it is rather enjoyable and pleasant to listen to, when done incorrectly it can drift off into a general feeling of boredom. The album is relatively divided between tracks that are done correctly, and those that are not. "Is This The Best Spot?", "Mature Themes", "Only In My Dreams", "Farewell American Primitive", "Live It Up", "Baby" are these tracks that are done correctly and are the evident strengths on this record. They possess alluring qualities to them, unlike the other tracks that make them enjoyable. "Baby" being the ultimate representation of this featuring guest vocals of soul that meld perfectly with the instrumentation of the song. "Kinski Assassin", "Driftwood", "Schnitzel Boogie", "Early Birds of Babylon", "Symphony of the Nymph", "Pink Slime", "Nostradamus & Me" are the tracks that feel directionless (not in a good way) and explore rather lifeless musical concepts. Overall, my feelings on this album were rather divided, while I felt that there were definitely some interesting musical directions on this album, the slight majority of the tracks seemed to ultimately evoke feelings of boredom and ambivalence.
Pitchfork's Top 100 Albums of 2010s (Albums I Have Listened To In Full So Far):
#1, #2, #3, #5, #6, #8, #9, #10, #12, #13, #14, #15, #17, #19, #21, #22, #24, #29, #31, #33, #36, #37, #39, #40, #41, #43, #44, #46, #48, #49, #50, #52, #53, #55, #56, #57, #60, #61, #64, #65, #67, #74, #75, #76, #78, #81, #86, #87, #88, #89, #90, #91, #92, #93, #94, #95, #97, #99, #100
My thoughts on Clams Casino's 'Instrumental Mixtape':
Being the last entry on any list (as this release is at #100) is difficult. Your validity on the list will be questioned, and many may believe that a lot of other better releases should have easily taken over your spot. However, I believe that Clams Casino really deserves to be included here with this mixtape. While he rose to prominence through his production of hip hop songs, most of these songs do not sound like conventional hip hop. A lot of the tracks in the beginning are very dreamy and focus on a more soothing restrained electronic vibe, while the latter half of the mixtape contains more upbeat energetic tracks that contain bouncy synths that sound more "hip hop". Ultimately, I would say that this a rather strong collection of electronic tracks that each standout in their own way. My two favorite tracks are "Illest Alive" and "Cold War", probably because I absolutely love the Bjork and Janelle Monae samples that he includes more than anything else. This is a mixtape that proves itself to be worthy of its spot on this list, while Pitchfork deemed it be the "worst" of the best of the decade so far, I believe it deserves higher.
Eric. - I have albums by all the artist you listed (except for the Haxan Cloak which I do not have anything by)
How does the Oneohtrix record compare to Replica? I love Replica, I think I haven't gotten his new one yet because he moved labels and I couldn't get the album.
I really want to Jon Hopkins album, I've wanted it since last year, but really want it now because he produced Coldplay's midnight which is one of my favorite tracks of the year
The Haxan Cloak's record is very heavy drone, extremely alluring and spooky too, kind of like Inception described The Seer, but in electronic music. I have not heard Replica, I can't compare it with R Plus Seven.
Man, you NEED Jon Hopkin's album, believe me. It is my top album of 2013 no doubt, every single track is gorgeous.
Forest Swords' Engravings and Jon Hopkins' Immunity were my favorite electronic albums of 2013. "Breathe This Air" is beyond amazing. Purity Ring version is good but I prefer Jon solo.
Yes! Engravings is pretty amazing. I love it. I have no idea how I'd being to describe the genre though. Like dark electronic with plenty of empty space and an occasional asian and goth influence. I have no idea, but it's great.
I think Zomby's With Love is my favorite straight-up electronic release from last year though. Also, I just got Endless Fantasy by Anamanaguchi or however their name is spelled and it's growing on me quickly. I also am a huge fan of Holy Ghost if they count. Nice New Order avi btw.
Quote:
Originally posted by Eric.
The Haxan Cloak's record is very heavy drone, extremely alluring and spooky too, kind of like Inception described The Seer, but in electronic music. I have not heard Replica, I can't compare it with R Plus Seven.
Man, you NEED Jon Hopkin's album, believe me. It is my top album of 2013 no doubt, every single track is gorgeous.
I really got to check out the Haxan Cloak then. Sounds pretty cool. You should check out Replica, it's pretty great. I was going to download Rifts this week, but got something else instead. So next week it is.
I will definitely check out Immunity soon. Went to the record store today, but they didn't have it surprisingly.
Quote:
Originally posted by Eeveelution
[center]I was gonna listen to the new Swans album but then I saw that it had a 30 minute song. I'm not about that life.
Exactly what's been keeping me from Swans tbh. I want to experience the whole thing at once, but don't want to sit for two hours.
Inception, hope you don't mind I didn't quote you, I don't like scrolling past really long quotes.
You made me really want to listen to Clams Casino (worst producer name ever though)! It sounds great. I randomly have his second instrumental tape, but not the first. I love his work with A$AP Rocky and I think his sound has been pretty influential. I'm going to track the mixtape down and download A$AP.
Your write-up of The Seer was all kinds of amazing though. Your last line was the best. It sounds like an intense experience, I have to listen, maybe on the weekend. So, I don't know anything about these guys and haven't ever really gotten an answer from anything I've read...Are they metal or nah?
Atlas and Mature Themes just seem kind of whatever from your write-up. Liked what you said about feeling boredom and ambivalence in Mature Themes and how The Seer seemed engaging in comparison. Did Mature Themes and Atlas seem to take longer to be done than The Seer? Just curious
Inception, hope you don't mind I didn't quote you, I don't like scrolling past really long quotes.
You made me really want to listen to Clams Casino (worst producer name ever though)! It sounds great. I randomly have his second instrumental tape, but not the first. I love his work with A$AP Rocky and I think his sound has been pretty influential. I'm going to track the mixtape down and download A$AP.
Your write-up of The Seer was all kinds of amazing though. Your last line was the best. It sounds like an intense experience, I have to listen, maybe on the weekend. So, I don't know anything about these guys and haven't ever really gotten an answer from anything I've read...Are they metal or nah?
Atlas and Mature Themes just seem kind of whatever from your write-up. Liked what you said about feeling boredom and ambivalence in Mature Themes and how The Seer seemed engaging in comparison. Did Mature Themes and Atlas seem to take longer to be done than The Seer? Just curious
Oh, it is fine.
Yeah, that name does suck. Yeah, I love his sound on the mixtape and can see its influences.
Haha, thank you! It really is a terrifying experience musically. They are definitely not metal, but more artistic heavy rock. It is not like always clashing loud rock, it is more of rock that will slowly build, and is also definitely experimental. It is honestly very difficult to describe as I have never really heard anything like it, but that would be my best guess.
Atlas was definitely more enjoyable than Mature Themes. Mature Themes ultimately was a drag to get through, while Atlas had some shining moments that I really enjoyed. The Seer did not necessarily feel like a short listening experience, it definitely FELT like 2 hours, because of its mind-controlling sound, but it was still an incredible album worth listening to, unlike Mature Themes. Haha.
Someday I might get into them, the intensity of your experience makes me even more interested. Sounds crazy how an album so long can demand and keep your attention so much.
Yeah, I love his sound on the mixtape and can see its influences.