Statistics
We looked inside some of the posts by retro-gradereviews-blog and here's what we found interesting.
Average Info
Notes Per Post
0
Likes Per Post
0
Reblog Per Post
0
Reply Per Post
0
Time Between Posts
3 months
Number of Posts By Type
Text
1
Photo
16
Last Seen Tumblr Blogs
Fun Fact
Tumblr has a low social media market share in South America.
Text
<!DOCTYPE html> <script>var __pbpa = true;</script><script>var translated_warning_string = 'Warning: Never enter your Tumblr password unless \u201chttps://www.tumblr.com/login\u201d\x0ais the address in your web browser.\x0a\x0aYou should also see a green \u201cTumblr, Inc.\u201d identification in the address bar.\x0a\x0aSpammers and other bad guys use fake forms to steal passwords.\x0a\x0aTumblr will never ask you to log in from a user\u2019s blog.\x0a\x0aAre you absolutely sure you want to continue?';</script><script type="text/javascript" language="javascript" src="http://assets.tumblr.com/assets/scripts/pre_tumblelog.js?_v=66ac555bc5745ebe20abdae7cbc40704"></script> <!doctype HTML> <link rel="shortcut icon" href="http://sv.tinypic.com?ref=qq68e9">
<html>
<head prefix="og: http://ogp.me/ns# fb: http://ogp.me/ns/fb# blog: http://ogp.me/ns/blog#">
<meta http-equiv="Content-Type" content="text/html; charset=Shift_JIS">
<meta http-equiv="Content-Style-Type" content="text/css">
<meta http-equiv="Content-Script-Type" content="text/javascript">
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var namMember = new Array(
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var head1,head2;
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lstMember[n] = new Array();
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parent[n] = i;
n++;
}
}
//Preserve this sequence
for (i=0; i<namMember.length; i++) {
rec[i] = 0;
}
nrec = 0;
//List that keeps your results
//Value of link initial
// Value of link initial
for (i=0; i<=namMember.length; i++) {
equal[i] = -1;
}
cmp1 = lstMember.length-2;
cmp2 = lstMember.length-1;
head1 = 0;
head2 = 0;
numQuestion = 1;
finishSize = 0;
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//リストのソート+++++++++++++++++++++++++++++++++++++++++++
//flag：Don't know characters
// -1：Chose the left
// 0：Tie
// 1：Chose the right
function sortList(flag){
var i;
var str;
//rec preservation
if (flag<0) {
rec[nrec] = lstMember[cmp1][head1];
head1++;
nrec++;
finishSize++;
while (equal[rec[nrec-1]]!=-1) {
rec[nrec] = lstMember[cmp1][head1];
head1++;
nrec++;
finishSize++;
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rec[nrec] = lstMember[cmp2][head2];
head2++;
nrec++;
finishSize++;
while (equal[rec[nrec-1]]!=-1) {
rec[nrec] = lstMember[cmp2][head2];
head2++;
nrec++;
finishSize++;
}
}
else {
rec[nrec] = lstMember[cmp1][head1];
head1++;
nrec++;
finishSize++;
while (equal[rec[nrec-1]]!=-1) {
rec[nrec] = lstMember[cmp1][head1];
head1++;
nrec++;
finishSize++;
}
equal[rec[nrec-1]] = lstMember[cmp2][head2];
rec[nrec] = lstMember[cmp2][head2];
head2++;
nrec++;
finishSize++;
while (equal[rec[nrec-1]]!=-1) {
rec[nrec] = lstMember[cmp2][head2];
head2++;
nrec++;
finishSize++;
}
}
//Processing after finishing with one list
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rec[nrec] = lstMember[cmp1][head1];
head1++;
nrec++;
finishSize++;
}
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else if (head1==lstMember[cmp1].length && head2<lstMember[cmp2].length) {
//List the remainder of cmp1 copies, list cmp2 copies when finished scanning
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rec[nrec] = lstMember[cmp2][head2];
head2++;
nrec++;
finishSize++;
}
}
//When it arrives at the end of both lists
//Update a pro list
if (head1==lstMember[cmp1].length && head2==lstMember[cmp2].length) {
for (i=0; i<lstMember[cmp1].length+lstMember[cmp2].length; i++) {
lstMember[parent[cmp1]][i] = rec[i];
}
lstMember.pop();
lstMember.pop();
cmp1 = cmp1-2;
cmp2 = cmp2-2;
head1 = 0;
head2 = 0;
//Initialize the rec before performing the new comparison
if (head1==0 && head2==0) {
for (i=0; i<namMember.length; i++) {
rec[i] = 0;
}
nrec = 0;
}
}
if (cmp1<0) {
str = "battle #"+(numQuestion-1)+"<br>"+Math.floor(finishSize*100/totalSize)+"% sorted.";
document.getElementById("battleNumber").innerHTML = str;
showResult();
finishFlag = 1;
}
else {
showImage();
}
}
//The results+++++++++++++++++++++++++++++++++++++++++++++++
//順位=Rank/Grade/Position/Standing/Status
//名前=Identification term
function showResult() {
var ranking = 1;
var sameRank = 1;
var str = "";
var i;
str += "<table style=\"width:200px; font-size:18px; line-height:120%; margin-left:auto; margin-right:auto; border:1px solid #000; border-collapse:collapse\" align=\"center\">";
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for (i=0; i<namMember.length; i++) {
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if (i<namMember.length-1) {
if (equal[lstMember[0][i]]==lstMember[0][i+1]) {
sameRank++;
} else {
ranking += sameRank;
sameRank = 1;
}
}
}
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document.getElementById("resultField").innerHTML = str;
}
//Indicates two elements to compare+++++++++++++++++++++++++++++++++++
function showImage() {
var str0 = "battle #"+numQuestion+"<br>"+Math.floor(finishSize*100/totalSize)+"% sorted.";
var str1 = ""+toNameFace(lstMember[cmp1][head1]);
var str2 = ""+toNameFace(lstMember[cmp2][head2]);
document.getElementById("battleNumber").innerHTML = str0;
document.getElementById("leftField").innerHTML = str1;
document.getElementById("rightField").innerHTML = str2;
numQuestion++;
}
//Convert numeric value into a name (emoticon)+++++++++++++++++++++++++++++++
function toNameFace(n){
var str = namMember[n];
/*
str += '<br />';
switch(n) {
//case -1 Because it is a sample, delete it
case -1: str+=""; break;
}*/
return str;
}
//-->
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border-spacing: 10px 5px;
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width: 120px;
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cursor: pointer;
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cursor: pointer;
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<body text="#000000" bgcolor="#ffffff" link="#e097d9" vlink="#e097d9" alink="#79a2c9">
<p class="instructions"> <center><br /><br /> <b>SORTER NAME</b><br /><br>pick who you like better in each battle to get an accurate list of your<br />favorite members from the group.<br />note: hitting 'no opinion' or 'I like both' frequently will negatively affect your results.<br /><br /></center>
</p>
<table id="mainTable" align="center">
<tbody><tr>
<td id="battleNumber" colspan="3" style="padding-bottom: 10px;" style="text-align:center;"><b>battle #1<br>0% sorted.</b></td>
</tr>
<tr>
<td id="leftField" onclick="if(finishFlag==0) sortList(-1);" rowspan="2" style="text-align:center;"></td>
<td class="middleField" onclick="if(finishFlag==0) sortList(0);" style="text-align:center;">
I like both
</td>
<td id="rightField" onclick="if(finishFlag==0) sortList(1);" rowspan="2"style="text-align:center;"></td>
</tr>
<tr>
<td class="middleField" onclick="if(finishFlag==0) sortList(0);"style="text-align:center;">
no opinion
</td>
</tr>
</tbody></table>
<br><br>
<div id="resultField" style="text-align: center;">
<br>
</div>
<script type="text/javascript">
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</script> <p class="other"> <center><small><br /><br />used with permission.<br /><br/><a href="http://biasorter.tumblr.com/">created by biasorter</a>. </small></center></small> </p>
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Artist: Sleater-Kinney
Album: No Cities To Love
Released January 20th 2015
The band’s decade long hiatus has led up to No Cities To Love, an album that by many standards has succeeded in a positive return to form. The album begins with “Price Tag”, which opens up a dagger of a track examining the daily grind amidst an agonizing economical battle as described vocally. The entire album plays on themes that are similar throughout the album, demonstrating that the members of the band have a vision that’s conscious of the middle-age demographic climate.
Sonically speaking the album is rough, and demonstrates increasing edginess in “Bury Our Friends” with chanting chorus’ that will stick around cerebrally. There are several examples of a swell return for the group, as this album is consistent from front to back. The album doesn’t try to blur too many lines in terms of genre, keeping a tight focus creating energetic punk rock anthems. As demonstrated by the band’s vision, these anthems may feel relevant to a wide spectrum. It’s fair to conclude that the band has aged well and it will be interesting to see what’s next.
Rating: 8.4
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Artist: Jefre Cantu-Ledesma
Album: A Year With 13 Moons
Released February 10th 2015
A Year With 13 Moons is an ambient aesthetic producing affair. Sonically speaking the source of the noise sounds born out of an amplifier. There are some drum machine loops through out the album that give the ambience a little more character. There are some cool atmospheres generated from the tools the artist uses, however it does feel that the toolbox feels pretty small. It’s fair to say for now that this album is perhaps a stepping stone to something more all encompassing. Many of the tracks span for less than two minutes, and are unable to fully generate a sustained soundscape. That being mentioned A Year With 13 Moons is not necessarily bad or incomplete. The album validates the methods and process of Cantu-Ledesma’s craft, which is a harsh ambient texture with a complimentary narrative that evolves quickly.
Rating: 7.1
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Artist: Carly Rae Jepsen
Album: Emotion
Released June 23rd 2015
She has had some cutesy singles that at times have created a barrier to some crowds, but this album may be some indication that such barriers are beginning to crumble. Almost the whole album is full of simple pop designs, with a vocal lead that’s charismatic enough. Lyrically the album plays on relationship struggle but also some other themes containing a positive message. Much of the production is atmospheric with an 80′s cadence, allowing for a lot of room for Carly to use her voice to project her pop vibe.
What the track “All That” suggests is that the pop vibe is starting to mature, perhaps reaching a little further with some of the killjoys that would rather listen to something that’s ‘real��. What’s important is realizing that for a pop record, it’s a great collection. While it may not overcome challenges needed to make a classic, it gives pop music (in a lane that Carly Rae Jepsen occupies) a chance to be relevant in more circles. This album functions as an ‘OK’ play-through, where some of the best moments lie in the front of the album. But even with that in mind Carly Rae Jepsen’s new album deserves an honest listen, and an open palate.
Rating: 6.8
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Artist: Health
Album: Death Magic
Released August 7th 2015
Health’s newest record is the most upfront record they have ever created. They haven’t let go of the jarring and scary aesthetic, and have evolved their trademark into a pop context (which some can argue is even scarier). The lyrics are also unconventional for a pop record referring to drugs and anti-love themes. The harshness and the melodic nature is intoxicating at points, however there are points that miss such as “Life”, a track that uplifts almost inappropriately for a Health-type track.
There are several moments that hit pretty hard. “Stonefist” is an obvious choice for a lead single, while slow burners such as “New Coke” induce a doomed high ready to plummet. There are percussive aesthetic producing moments such as “Men Today” and “Salvia” which contribute to the overall apprehension of the album as well. To match this apprehension, the lyrics appear to reflect endless adrenaline cycles with periods of emptiness in a stimuli’s absence, which is likely drug induced. At times the album may emote the same feeling, even with it’s high energy moments, it doesn’t feel lasting.
Without trying to take too much away from Death Magic, as it does use it’s tricks well, the album with all it’s anti-love drug manipulated themes does wear thin after a while. The overall motif, once managed over an album’s span, will cease to surprise and what’s deeper beyond the noise is something that’s a little hollower than you might expect. For now, it’s worth mentioning that Health has devised somewhat of an anti-pop record that definitely ups the stakes of the band. Death Magic has it’s euphoric side-effects like some drugs, but the worst thing could be a tolerance, which might have you looking for something better.
Rating: 7.7
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Artist: Hop Along
Album: Painted Shut
Released May 4th 2015
Painted Shut is rather simple, containing easy indie rock designs that surely will please for every day listeners of the genre. The vocal presence is a major trait for the band, a female narrator who describes some rather ordinary experiences with some other stories about particular people. The raw vocal lead mended with the guitar-powered back drop for the most part works well together forming an album that should satisfy more matured punk-pop tastes. It may not quite be the post-punk sound some are looking for, but it offers some edge that at least makes it half way there.
Rating: 7.3
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Artist: Kamasi Washington
Album: The Epic
Released May 5th 2015
Based off of structure, we can all agree that The Epic lives up to it’s name. The project is 173 minutes long and plays the spontaneity card for almost all of it. It is instrumentally a virtuoso affair, that expresses a wide range of style crossover while still retaining overall the jazz ethos that will certainly please it’s genres audience. Although with all that being said, theres major setbacks that make this project seem impenetrable.
The project is not practical as an album. It’s called The Epic for a reason, the album is literally a marathon that expends energy even for the listener to get through. This would be fine if we encountered some sort of break or interlude to ease the tension. Instead we are exposed to extravaganza after extravaganza after another, which feels more and more tiresome as each minute passes by.
The overall mix of the album feels very sterile. Drum snares come in roaringly to almost evaporate the very next second as if nothing happened, and everything else just falls into it’s own frequency all at once to just show they were present without necessity. The affair deems to be epic every second, but there is no epic with out rising action to get there.
Much of what is really wrong with the record is trying to define what is ‘epic’. ‘Epic’ is a deserved idea, that does take time and also provides some struggle to get there. The Epic has the struggle and has the time, but all in the wrong order. Instead The Epic displays the struggle and the climax all at once which proves to be a monumental waste, and even worse over a span of 3 hours.
Rating: 3.6
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Artist: Unknown Mortal Orchestra
Album: Multi-Love
Released May 26th 2015
Multi-Love alludes to the triangle of love envisioned or lived through by Ruban Nielson. The story itself opens with the title track, which gives allusions to the joy, misadventure, and confusion of the situation. The opener is much like the rest of the project, which plays to it’s psychedelic and funk tendencies. These tendencies are self-indulgent at times, specifically the druggy “Like Acid Rain”, which could pay off as a charismatic moment in the right mindset.
The album contains more hints of some of the memorable moments of this love triangle, however what is more appealing is the commitment to groove. This album is catchy and contains the hooks to support it. While not the most elegantly funky pieces of all time, moments like “Ur Life One Night”, “Can’t Keep Checking My Phone”, and “Necessary Evil” contain enough personality that’s worth returning to. It contains the right amount of quirkiness to be memorable, and not too much to sicken.
Rating: 8.1
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Artist: Holly Herndon
Album: Platform
Released May 19th 2015
Holly Herndon’s Platform is a heavy on the sonic experimentation. There is a deep collection of sounds that come together to form a rather vivid conglomerate that evokes very technological vibes that point to a potential sound of our future. The lead role of all this is Holly Herndon’s voice, which for the most part is distinctive and bodes well with the rest of the noise. The delivery of her vocal feels like poetry in passing with nothing coming across as definitive as she hides the in shadows of the ambiguous soundscape she creates.
The end result of how all this comes together has it’s merits, as all of the tracks build aesthetic properly and project this atmosphere rather effectively. For now, however it stands as a building block towards something more definitive. The album feels mostly stationary and doesn’t move into any narrative direction. For an electronic album it feels sporadic, jumping around everywhere for the sake of doing so in order to prove that the possibility of sonic manipulation exists. That in some part is the charm of experimentation, however what’s really missing here is a feeling a little less industrial, and more fleshy.
Rating: 6.2
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Artist: Sufjan Stevens
Album: Carrie & Lowell
Released March 30th 2015
This is the first album in a while for Sufjan that takes a break from much of the eccentric electric based music he was dipping into. Conceptually and lyrically this could be one of his most personal projects. Natural elements as well as many landmarks in Oregon are used to facilitate the dampening story that is the strained relationship between Sufjan and his mother, Carrie. Arguably the most pained of all voices to come through in folk, has emerged with the true story that with out a doubt poses empty abandonment for anyone who can understand a tenth of the feeling that comes with loss.
To help his narrative he has aligned some perfectly droney and odd soundscapes and guitar playing that can even play to simpler tastes. Much of what makes this record special though is the narrative that comes from Sufjan’s intimate voice. Sufjan’s story is hopeful in some parts, but tortured by the memory of his mother and the lack of her presence in his life. He loses his mother eventually to stomach cancer and his efforts in reaching her cosmically take him down a self-destructive path that involves attacking faith, drug abuse, and hurting himself by other means.
Sufjan’s journey is a ‘coming of age’ tale too, where even in parts of complete emotional disintegration he does realize he can push forward as shown in “The Only Thing”. Then again, there really is no quick fix track that soothes to unsettling vibe as this story feels ongoing. Perhaps Sufjan isn’t succumbing to his worst habits as illustrated in “No Shade In The Shadow Of The Cross” anymore, but his anxiety will forever be compartmentalized inside him.
His closest piece to resemble any reconciliation is “Fourth of July”. The backdrop is incredibly gloomy, and features a two way narrative between Sufjan and his mother while she lies in her hospital bed in pain about to pass away. Judging from context of the relationship, the heaviness of the loss is for the most part unknown. What Sufjan holds on to is the vagueness of the memory he has of her, whether it is the fantasy of what a mother ‘should’ be or even just knowing that there is someone there. Either way, the picture painted couldn’t be more sad. Sufjan who has just lost his mother echoes “We’re all gonna die”, harping on the idea of having a mother being essential for his survival.
He has survived the monumental loss, and it’s fair to say that this will likely not be the end of the story, as it haunts him for the rest of his life. Hopefully as time passes by, and maybe even with the album released, it is hoped that he has provided a means of a safe haven for his emotions. This album is potentially the most confusing, but most personal token of Sufjan’s nostalgia. For his sake he should be proud of himself, taking all of the waves of vulnerability and expressing them with the same intimacy that he always has. But most importantly, even by cosmic means for a swift moment, hopefully Sufjan feels closer to his mother. Providing light for a rare moment just feels gratifying for once, instead of empty and lonely.
Rating: 8.9
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Artist: Jamie xx
Album: In Colour
Released May 29th 2015
In Colour is a ‘beat-first’ type project with it’s share of tricks and vocal accompaniment. “Gosh”, the opener, is in large part a staple to the overall motif, a dark ominous track that promises some intricacy mixed with fun. What follows is a product that fulfills some of it’s initial promise as posed by the opener. Romy of The xx actually plays a huge part in some of the emotional moments, coming through on “Seesaw” with her fleeting vocals describing a rather hopeless relationship. She also appears once again in “Loud Places” describing yet another painfully nostalgic story of ex’s finding love after the end of their relationship.
The album fulfills it’s promise again with the fun track “I Know There's Gonna Be (Good Times)”, but where the album appears to lack fun and intricacy is down the middle. “Obvs” is simple to a vault, and predictable. “Stranger In A Room” with Oliver of The xx feels uninspired, and lacks the background beat to save it. Along with those are some ideas that feel rehashed and uninteresting, however for the most part Jamie xx comes through to fulfill this motif set out by “Gosh”, offering up some ear candy but tugging at the heart strings from time to time.
Rating: 7.5
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Artist: Ceschi
Album: Broken Bone Ballads
Released April 7th 2015
Ceschi right off the bat can be pegged as a conscious hip hop act upon first listen. The main themes expressed, as elaborated on “Choke Parade”, are about how success can break a person and make you forget who you are. Such allusions were made in “Rowing in Circles”, stating that the road to fame can make someone forget their age. With the messages there is an overall warmth felt from acoustic guitars that present on many tracks through out the album, and some varied production with features as shown in “Kurzweil”.
This makes the album a nice mixed bag production wise, which adds some fun to the listening experience. The bars are delivered effectively and you’ll get the sense that his view of the world is a bit cruel on “Say Something”, however he still reminds us that he’s very much part of the ‘every man’ struggle. For the most part, Ceschi tries to limit his audience to the people he cares about as he would rather play to the people who ‘matter’ as stated on “Beauty For Bosses”.
Most importantly, while conveying the conscious movement, he tries his best to let the people who ‘matter’ know that he’s just lending his perspective on the world, associating a humble vibe that means only to be some incentive to learn from the lessons that life teaches you. A motif that can only bode positivity even amongst the daily struggle.
Rating: 8.4
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Artist: Panda Bear
Album: Panda Bear Meets The Grim Reaper
Released January 9th 2015
The album is a strange collection of tracks that build aesthetic with a psychedelic approach, while retaining pop sensibility. This approach is no different than the earlier days of his music career and the late days of Animal Collective, however this time it’s a little eerie and has been deconstructed down to simple chorus’ that say a lot for the amount of words used.
The aesthetic being built feels a little less disorienting and tighter in focus than previous work, where most beats are mixed strategically for Panda Bear to punch through. Lyrically there are philosophical moments amidst the sound, some varying in weight, with the only real claim of a personalized track coming from “Tropic of Cancer”. The track talks about death, regret, and taking the good with the bad revolving around his father’s passing to brain cancer.
The album feels like a collection of strange dreams overrun with inner commentary that revolve around the idea of death and where he is now in his life. “Tropic of Cancer” could be the most upfront piece that focuses on death, while the rest of the tracks serve as individual experiences. It’s hard to say how well this concept comes together due to some of the vagueness of the lyrics, however sonically what Panda Bear did the best here, is promote an environment that churns out mind-altering experiences on an accessible plateau. Just the way he did on Person Pitch, but with an unnerving quality.
Rating: 8.4
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Artist: Courtney Barnett
Album: Sometimes I Sit And Think, And Sometimes I Just Sit
Released March 20th 2015
Courtney Barnett appears to be someone who can take any experience and write a thousand words to explain it. For much of the time we only need a hundred words to fully understand the big picture, however she is able to extrapolate on the mundane and turn a simple story into a big simple story. Many lyricists can do this effectively and even throw abstractions into the mix. The trouble is here, when looking for these abstractions, you may have a hard time finding them.
The thing is, much of the content is easy to grasp when reading, and even in passing as she delivers amongst the punchy sounding rock you’ll pretty much get the idea of what’s going on. Such story telling can be judged critically two different ways. It’s easy to understand so it’s accessible so everyone can enjoy it, or it’s too simple and “I want more abstraction”.
When talking about the overall sound, it sounds like indie rock. The delivery of the vocals are a bit monotone at times, and the mood surrounds you in a lazy fog. It is hard to care really. The music plays out like a Sunday afternoon with nothing to do but think. The album is true to it’s motif it seems, so true that it hurts to think about if you’re trying too hard to understand it. The less you try the better off you will be.
Rating: 6.6
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Artist: Father John Misty
Album: I Love You, Honeybear
Released February 10th 2015
This album is a declaration of commitment made by J. Tillman himself to his wife Emma. This album documents the events after the days of Fleet Foxes, and all the inner commentary that provides narrative to his feelings, and how he is still in love with Emma to this day. An album title that states such words comes with a precedent that’s up for interpretation, but Josh makes it very clear that his approach is one that embodies humour, foolishness, but most importantly self-awareness.
“I Love You, Honeybear” is the opener which is the sexual and comically violent declaration that sets the stage for the rest of the album. Josh immediately demonstrates his ability to ‘troll’, creating a rather outrageous commentary in the first track. However amidst the commentary, his statement is simple, he has set out to love his wife through it all.
“Chateau Lobby #4 (In C For Two Virgins)” is a celebratory track about hating the same things as your lover, turning the mundane into the spectacular, and living in the moment. Such tracks could be send offs for those who don’t believe it, but as Josh projects his near-cynicism admiration follows and it feels believable.
Even as love evolves theres always something the past that could be a make or break for a relationship. “The Ideal Husband” is a great opposition to the perfect love mentioned before, explaining the awkward trial by fire that people would rather put aside poetically. Josh takes on the trial by fire and burns through it in a sonically more aggressive track that puts a rather neat spin on privacy invasion and technology, relating his ‘stolen files’ as if they were his dirtiest secrets to keep from his wife.
If you even take into consideration “Holy Shit”, you see that one of Josh’s greatest charms is his truthfulness. With every threat of vulnerability, he is able to cleverly turn the threat into an opportunity to make listeners smirk. It can turn a bleeding heart into something well planned and graceful, even with aching strings left, right, and center.
Josh has effectively snuck in all the details of the events of a lasting love, without once making us wince once. With ten tracks that accurately convey the conditions of foolish love, “I Went To The Store One Day” deserves it’s place, a track that literally echoes the words he spoke to Emma when they first met. It’s a moment that has to be earned to be able to pull off without cringe, and he did so with flying colours.
Rating: 8.5
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Artist: Lower Dens
Album: Escape From Evil
Released March 31st 2015
Escape From Evil at first glance has all the charms that have been garnered from various other acts of it’s time. The band utilizes reverb on this album very well much like DIIV, and features some rather elegant vocals much as like Victoria Legrand of Beach House. There are bits and pieces that sound dreamy like a Wild Nothing record, and other break-downs that could have been Clap Your Hands Say Yeah! influenced. How about the Chromatics-esque guitar on the track “Quo Vadis”?
The observations are made in praise of the bands ability to adopt several sounds and make it relatable in their way. Lower Dens aren’t ripping off these sounds, they are merely projecting a dream pop sound that’s upfront but still presents ambiguity lyrically and sonically. The lyrics reference stories and themes that may require more analysis, but the rewards are pretty easy to grasp. All in all, the project is a simple listen that could trick you into a nostalgic trance as it may sound very familiar, but in a good way.
Rating: 8.3
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Artist: Drake
Album: If You’re Reading This It’s Too Late
Released February 13th 2015
Drake releases a mix-tape that comes off as a surprise to most including even his closer followers. He’s back with an album that feels a little grimier compared to the last two studio releases and with that more rapping taking place. His lyrical content deals with a lot of the same themes as before, talking about money, where he is in his career, etc. The context hasn’t changed much but the delivery has a great deal.
There’s many samples in the music that fit pretty well for the most part and overall the beats induce a ‘trap’ atmosphere where Drake has room to breathe and get his message across. For someone who changes lanes frequently between rap and R&B, sticking to one lane is risky. The result here has some moments that pay off, while others that do not. “Legend” isn’t a bad opener by any means, but after that some of the flaws in Drake’s flow becomes very apparent.
“Energy” features the twelve ‘i got’ phrases in succession and a monotonous undertone that can’t be saved by his over annunciation of syllables that drag two bars too long. “6 God” is another even worse example of hanging on to syllables way too long, which proves to be just annoying. Outside of Drake, the album runs out of new ideas with some very similar beats. This pattern is pretty relevant in ‘trap’ type albums, but this album does offer some redeeming singles that are worth returning to.
“10 Bands” offers a neat backdrop behind Drake, and his flow rides on top very well. Some tracks offer aesthetic, such as PARTYNEXTDOORS interlude, that fit well with the album overall. “Now & Forever” could be the concept track relating to where Drake is in his career. The track also is the most hazy of all 17, and features vocals which some fans were hoping to hear more of. Either way, Drake is trying to put his foot into the rap game more on this album, and as it stands he did succeed in spots. For now the experience should pay off as a stepping stone to master his rapping craft, because it needs a little work to be considered lethal on it’s own.
Rating: 6.3
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