petejuvinall

Hey Jack, glad you asked... How is this not rated yet? :) So cohesive. There's not a skip here. It's songs that you listen to after a hard day, and songs that you sing in a stadium with 5000 of your closest friends. You're going to ask about standout tracks and the answer is "Yes". pfffttt. I want to choose all of them. But, as an example, 24 is a song that is so well written that it almost requires you sing along. If you listen to this and aren't moved, you might want to check your pulse.

Only giving it a 9.5 because the cover doesn't quite match the music. The cover says 'electronic' - the album is so very much more. I bought it on the basis of the cover. Zambian rapper, Sampa, mixes native music, modern production and flow to make an album, that for me, I can put on repeat. It's also one that really demands listening to. I have it on vinyl and it's going to be one of those that I'll grab on the way out the door in a fire.

Bossa Nova meant for a Saturday morning with coffee and baguettes. It's a legitimate capable translation of "Bread" from the group and belong on the same shelf of such classics as Getz\Gilberto.

Music that absolutley nails the COVID era well. It's got this feeling of individual loss and confinement that wiil make sense for the people that were there and will be missed by future generations. I think Fred's music is just really profoundly beautiful and it grants dignity and honesty to the people he sampled on it. In 30 years from now, thinking about all that went in 2020, it'll be these albums I go back to. (reviewing all three of these together, because I see them as 'one' work)

Music that absolutley nails the COVID era well. It's got this feeling of individual loss and confinement that wiil make sense for the people that were there and will be missed by future generations. I think Fred's music is just really profoundly beautiful and it grants dignity and honesty to the people he sampled on it. In 30 years from now, thinking about all that went in 2020, it'll be these albums I go back to. (reviewing all three of these together, because I see them as 'one' work)

Music that absolutley nails the COVID era well. It's got this feeling of individual loss and confinement that wiil make sense for the people that were there and will be missed by future generations. I think Fred's music is just really profoundly beautiful and it grants dignity and honesty to the people he sampled on it. In 30 years from now, thinking about all that went in 2020, it'll be these albums I go back to.

Anytime someone's adverterous, it's ok. Sometimes it doesn't work out. Jon is wildly talented, willing to do risky things, and yet this is one of those that isn't quite great. What gets lost is the production. The weirdness of it gets buried in the mix on most of the tracks and while challenging, interesting work, it smothers the overall feel. I'll always love Jon Batiste, but this is an 'ok' album.

What to say? It's great. Would recommend you listen on as best equipment as you can. It's one musical thought that draws together complexity and the rhytmic nature of the black church to communicate what Coltrane was going through at the time. I will listen to this and never not feel just classy for doing so.

It's a journey. It's a rare album that takes the user deep into world building of a sci-fi future that is both dystopian and dashed with a glimmer of hope. As an industrial album, it's proabably horribly placed in time. It could belong well with fans of skinny puppy or nitzer ebb as well as Gravity Kills, and NIN. If you like good industrial music that's wildly not right for radio, this is it.

It's the height of separating the art from the artist. The work by itself is great and set the 'sound' of modern hip hop for at least a decade following. There are parts it that are beutiful like runaway and parts that feel post-apocalyptic. A decade plus later and I can love the album and also feel the internal pain of the artist.

It's a great entry point to Trip Hop at its best, even though it arrived 'late' for Trip Hop. Would also be a fantastic band to do a podcast for Track star about. While tracks don't stand out for me, beyond the singles like Teardrop, this is one of those albums that deserve a front to back listen.

It's a good review of where she draws inspiruation from - there's parts of this that sound fresh AND familiar. It's beyond coping a Breeders or The Cure 'sound' and more drawing from it to do something entirely new. I think this album is great, and has tracks that will be around for a whle, but if her trajectory stays like this, the next album is going to be the one that will be in people's top 5 lists of the decade and not just the year, like this one is.

To say this is 'honest' is an understatement. It's a well recorded chronicle of a band who knows their purpose, knows what they want to communicate, and just lost a record deal. It's a whole-album composition of 'What do we do now'? The capstone of all of this is in 'Go down easy' where one of the best notes ever recorded is when Karin sings "Sometimes the only way to break the curse is to leave it all behind". "Behind" will leave you haunted for absolute days. If you like music, at all, you'll love this album. Lyrics, production, vocal ability all makes this an absolute gem of the mid 90s art pop scene.

It's the start of something great. Olivia has progressed over the years since she's started and this is an amazing start. The writing is great, she's a cross-generational artist because she sits with the weird.