A Lot on My Crate🎵

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  • Why You Should Spin: Inferno by Boards of Canada

    Why You Should Spin: Inferno by Boards of Canada

    Boards of Canada (who aren’t even from Canada!) are one of the most renowned electronic groups from the underground and Scotland (not Canada by the way). Mike Sandison and Marcus Eoin changed what IDM can be when they released their debut album, Music Has a Right to Children as that is one of my favorite electronic albums. It has this alien, haunting atmosphere that makes its world so esoteric and enigmatic. It’s an audio voyage everyone should try when they want to explore new uncharted spaces when it comes to an album experience. Them providing an atmosphere is what this duo’s forte is. Their production and sound are like crafted with care as they are able to make these eerie sounds with meticulous precision. Because to be honest, if any other group would try to do what they do, with all due respect as I commend them for trying, it would sound gimmicky. Most of their work seem to be like lost tapes in the void, as they either haunt or hypnotize the person listening to them. Even though their other releases aren’t my favorite, there is a strong cult following of Geogaddi, The Campfire Headphase, and Tomorrow’s Harvest. Even I cannot deny there are a handful of tracks in each LP to be impactful. Do yourself a favor, and listen to “Nothing Is Real”, which is my favorite track from Tomorrow’s Harvest and probably my favorite from them ever, and try to shake off whatever haunting spirit has stuck to ya. My first listening experience was “Dayvan Cowboy” and I was absolutely floored on how epic it was. And then I started down the rabbit hole/void that led to Music Has a Right to Children. So, anticipating for a Boards of Canada album is a patient art to the point that it has been a while that I was content with the art they left. And then…BOOM. All of a sudden, me and a lot of Board fans, or Boarders as everyone calls them of course…went cuckoo for Cocoa Puffs when that YouTube video dropped the release date for Inferno. Since the hiatus after Tomorrow’s Harvest has been thirteen years! So, of course I was hyped when this came out and I would have to say, I’m definitely into the vibe. Make no mistake, Inferno is a vibe to say the least, as it seems to emulate some kind of soundtrack of sorts. The aesthetic is eerie of sorts and is nostalgic for those VHS tape times when were kind to rewind. I do poke fun of this album as being Stranger Things coded, but it is more than that. There are so many sound palettes to digest in this album just like their previous projects as they put in as much effort to add all these synth layers. This record is dark, atmospheric, and very grand as we get lost into the abyss. And the abyss is soooo soooo deep. This one will definitely one my favorite electronic albums of the year and if anyone is on the hunt for vibes, then to be honest, the vibes might stalk you here on Inferno.

    If you want more convincing that this sounds like a soundtrack, with “Introit” going into our Feature Presentation! Presenting our opening, “Prophecy at 1420 MHz” as we get Middle Eastern instrumentals that go into these warm guitars. Not warm as in comforting, but warm as it is gradually getting to scorching levels. Hearing this track for the first time does a lot to someone who has been waiting for their music for thirteen years and you realize they still got it, with the creepy synths and the stoic pitched down vocals. I always visualize jets taking off and flying into the sunset, whenever this track comes on from now on. “Hydrogen Helium Lithium Leviathan” adds more of the darker atmosphere with these swelling synth beats and groove that sound like a good Halloween show, especially when those xylophones come in. It also won’t be a Boards of Canada album if it didn’t have a radio transmission or a chant from a disembodied guru voice in “Age of Capricorn”. “Father and Son” is a title of a track that should sound wholesome, but this is the antithesis of that. Just listen to how the vocals are chopped up, sped up, and distorted. You hear that humans should be offering support, but you even have these uneasy phrases like “I love you like I love the Lord.”, “He is sinning.”,or “I’m not calling him a liar.” A love that sounds so fake as their inner monsters are peeking their heads out. That’s how humans treat each other?! The goosebumps I got from this is why this one is a highlight for me. I usually don’t have much feelings for interludes, but “Somewhere Right Now in the Future” did make me feel something as it is pretty long for an interlude. However, it added a glimmer of hope. The hope is not as strong as it could be in this dark world we call our Earth. “Naraka”, the sanskrit of Hell, is a banger with its driving groove, but the melody from the Hindi chants is worth the listen here as it is an uplifting moment.

    “Memory Death” sounds like the beginning or an end with this suspenseful synth chord, some sort of vital signs monitor, and these ghostly vocals as it transitions perfectly into “The Word Becomes Flesh”. The laid back pads coming in on the beat with this alarming synth lead that makes you go into fight or flight mode. The track grows with more percussion and its groovy bass line that makes my worries go away, but the eeriness still remains. I really liked it when the robot and PSA like vocals come in when their syllables align with the beat. All this is happening while they’re rambling about biology. You feel like you’re about to launch into space or in orbit, when “Into the Magic Land” comes to play and “Blood in the Labyrinth” gives a mysterious vibe of a strange place with sitar melodies, hand drums, and ghost vocals again, as if you’re not supposed to be there. If you ever want to throw a rave in hell, then “All Reason Departs” is your go to for sure as it does have your spooks and your grooves. The bass line passages on “Arena Americanada” go so well with the drum fills, shakers, and synth leads that gives us some sense of marvel. It sounds cavalier to an extent. It’s as if these last few tracks could stand for themes of science footage. What grabbed me the interlude of the “The Process” is that it did sound chaotic and perilous, but has this beautiful melancholic piano melody within as it sets the tone of “You Retreat in Time and Space”. It’s the calm after the apocalyptic storm and has this uplifting atmosphere with its synths, bass, and some woodwinds that come in. This track on a first few listens I wasn’t into, but this one really grew on me on how hopeful this one is. It even reminds me of old Boards of Canada tracks too. Lastly, I did like how the whole album ended with “I Saw Through Platonia” doing a 180 on the mood. It leaves us in suspense of the dark void. Are things going to get better? The ending is intentionally ambiguous and leaves us at a cliffhanger. Well, it’s because us humans think we have total control of our fates, but it’s the cosmos that are the actual big cheese. Inferno is back at reminding us this is a dark album indeed.

    The second half is definitely the stronger of the two for me. It does stick with an aesthetic well, but it is very familiar. It might be a turnoff for people who aren’t into this kind of thing. There are some tracks on here I found to have went nowhere. Sometimes aesthetics aren’t enough, as “Age of Capricorn” with its recording effects were not as captivating. It’s similar to some other tracks on here that weren’t as engaging and felt like dragged on interludes.

    I was already at peace and accepted that Boards of Scotland might be calling it quits after hearing no signal after Tomorrow’s Harvest after all this time, but wow this was worth the wait. I can confidently say this is my second favorite album from them. Music Has a Right to Children is still my favorite, because it was so out there that I cannot find any album like it, even when you have other artists release works that were heavily influenced by them. Because comparatively, Inferno is not as genre changing as the former, but I did get the goosebumps and the grooves from this album. Groovebumps. It also has a solid theme with a well developed arc. I always love listening to their music as if I feel a lingering presence is behind me or coming out of a CRT TV in front of me. It’s impressive they can exude this haunting thrill without cheap tricks. Therefore, I just absolutely love how unnatural Inferno felt. This album is straight fire.

    FAVORITE TRACKS: PROPHECY AT 1420 MHZ, HYDROGEN HELIUM LITHIUM LEVIATHAN, FATHER AND SON, SOMEWHERE RIGHT NOW IN THE FUTURE, NARAKA, THE WORD BECOMES FLESH, INTO THE MAGIC LAND, ALL REASON DEPARTS, ARENA AMERICANADA, THE PROCESS, YOU RETREAT IN TIME AND SPACE, I SAW THROUGH PLATONIA

    LEAST FAVORITE: AGE OF CAPRICORN

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp][Apple Music][TIDAL]

  • What’s in My Bag? Atlanta Edition.

    What’s in My Bag? Atlanta Edition.

    So, It has been a long while since this trip, but I would like to show some pictures the time I visited Atlanta last March. Nothing good like getting away and dropping anchor from the SS Stress. Well, the main reason I went to Atlanta was to see FKA Twigs perform at the Coca Cola Roxy during her Body High Tour with a good friend of mine. She was my bucket list for a long time and boy howdy, she delivered. Stayed at a really nice hotel and vegged out. But me and my friend also went to a handful of record stores that she picked out as well as the aquarium and Coca-Cola World. Also ate great food. My friend is a champ for finding these record stores for me as that is what I would like to talk about and she took some of these photos too. I am a staunch defender of supporting small businesses and I encourage anyone to keep their local stores open by giving them your hard earned dollars. Better that than having Amazon warehouses running amok. Thought I would post here since some of the experiences were music related.

    Criminal Records

    Probably the largest store out of the three we went to. I immediately said “Wow!” when I entered the store and was giddy as hell. They had the most popular selections and new releases, but I did cop one record. The URGH album by Mandy, Indiana, which was an album I blogged about was there. I wasn’t on planning on seeing and not planning on acquiring, but I was persuaded to get one to help out the store. I like that their used section was called the “pre-loved” section.

    Wax ‘N Facts

    This storefront has first opened its doors at 1976 and is the oldest one out of the three places. I was in awe of the gargantuan selection of records that I have no idea what to cop. We had to leave since it was getting dusty, but their selection was exceptional. The whole time I was there I wished that my musical knowledge was vast to appreciate all of these used selections. Their personalized labels had a charm to them too. Also, loved their logo, since I love owls.

    Moods Music

    My favorite store out of the three was so cool in aesthetic. They had an extensive collection of hip-hop, soul, and blues. I was able to find two records that I didn’t have in my collection, which were ORQUÍDEAS by Kali Uchis and Diamond Life by Sade. These are two great records that are both similar in mood and beauty. While purchasing Diamond Life and showed the cashier my Sade record tote bag, he mentioned Sade’s son visits the store a lot and says it’s his favorite record store! I thought that was really neat.

    FKA Twigs

    It was cold getting to the Coca Cola Roxy to see FKA Twigs, but getting there was so worth it. We were close to the front at the lateral area by the rails. People went nuts when she first came out in this scantily clad outfit like her dance team was wearing. Must I say, it was a very zesty, but magnificent performance. She closed out with “Cellophane”, which is my favorite song from her thus far.

    That was it! We went to the World of Coca Cola and the Atlanta Aquarium and had a blast! I have other music central travel blog experiences I might share on here. Thanks to my friend for taking the best snaps on some of these!

  • Why You Should Spin: To Whom This May Concern by Jill Scott

    Why You Should Spin: To Whom This May Concern by Jill Scott

    This one was giving high praise by Anthony Fantano from the Needledrop, so I gave this one the old college try as this was the first time I’ve ever heard of her. She started out in music during the 2000s, but also dipped her toes in acting. Her music career is vast, but To Whom This May Concern came out of an eleven year hiatus from her previous release, so she’s back on the saddle. I’ll have to say, the time it took for this album to marinate does show. It sounds very well made with premium production and taken with great care. She specializes in neo soul, but this album is just jostling with a diverse amount of styles within that complements the well thought out songwriting. Also, her vocal chops! The vocals she provides you know she was born for music. However, her heart was into poetry from the very start and according to an interview with NPR, she blossomed into her music journey after being discovered by Questlove of the renowned musical group, The Roots. It’s highly recommended to read into the lyrics of this album, that’s for sure. Also, it’s no surprise her heart is in the right place by fighting for others too, in which there is a lot of social commentary with a simultaneous slap, punch, and kick here. This record is colorful, versatile, and a bombastic fighter. Again! Stellar songwriting. Sounding like a broken record (probably from the high heat of these songs, but it’s true!). She’s a fighter for acceptance of herself, is what she states in her NPR interview. It is a tribute to who she is, past and present and even did a tribute to her idol poet, Nikki Giovanni (in the song, “Ode to Nikki”). We love when the production and instrumentals go hard, but it’s always a treat in music when we listen to one’s words that may resonate with us. Jill Scott is the perfect candidate for that here.

    What makes “Be Great” so…great is that it is like a grandiose stage show. A big band is behind her that might as well blow out the auditorium’s lights. Scott is kicking down the saloon doors to let them know she’s more than what these people see her on surface level. I will always have a smile on my face during the chorus when the vocals jump octaves on “born to soar, born to be moreeee”. So much fun. “Beautiful People” is funk that Scott goes into a jazzy rhythm that gives this song an amorphous structure. It’s a blast from the past and past funk heads will appreciate this one. “Offdaback” is such a vibe, but it was very wholesome hearing Scott being grateful for her past idols that broke social barriers. Missy Elliott fans will absolutely love “Norf Side” and hearing Scott spitting bars with Tierra Whack is making a salute to their hometown that is Philadelphia as Queens of the North. “Pay U on Tuesday” is absolutely hilarious as the fact some fragile toes are definitely being stepped on. The type of music that you do chorus line kicks to. “Pressha” goes about how social pressure of course, eats oneself if they become someone else that’s not their authentic selves for her lover. Or could that lover be analogous as another group of people? The funky groove on “BPOTY” is so nostalgic for its time, but the time that is now is Scott commentating on how dire the state of living is comparing the whole situation like pimping someone out.

    In “A Universe”, she is smitten for someone who made her open up her whole world or universe in this slow jazzy jam by looking into his universe. Scott does a salute to her hero that is Nikki Giovanni, who was an influential African-American poet. There are definitely references flying over my head, but it is really wholesome hearing her doing slam poetry to honor her idol and Ab-Soul was killing it too. What a strong vocal performance from Jill Scott on “Don’t Play”. The absolute strength and sheer mother effing will of her character in this song definitely matches her voice with how much she projects her voice. “Àṣẹ” is like a comforting blanket with the warm soundscape and a heavenly choir surrounding us. And she keeps on cheering us on with her closer, “Sincerely Do”. It’s a nice way to wrap it up and keeping up the theme of self acceptance and self love. It’s a good send off to her audience and we hope we heed her words.

    There are a lot of dense material here and a lot of bangers. So, there are bound to be some misses and it kind of fell off in the midpoint for me and that is when the album is at its weakest. Jill Scott’s voice the strongest component here, no doubt about it. Some songs I didn’t mention to highlight just didn’t resonate with me.

    I’m glad for her receiving flowers for this album. Whenever I hear of her success from To Whom This May Concern, it gives me hope that talented musicians…and poets get their merit and due. And eleven years is a patient amount of time for this. This album has an infectious sound with a velvety groove that we cannot deny. It gets hypnotic at times and the production is luxurious as hell. Even her tribute to Nikki Giovanni even made me look up her work. I think she would be proud. To whom this may concern? Whoever stops by and takes the time to listen. For me, who is someone that is a novice of words, this one made an impact on me with her poetry. Sooooo, I had to brush up my whoever vs whomever usage. I’m a novice for sure!

    FAVORITE TRACKS: BE GREAT, OFFADABACK, NORF SIDE, PAY U ON TUESDAY, BPOTY, ME 4, ODE TO NIKKI, DON’T PLAY, TO B HONEST, ÀṢẸ

    LEAST FAVORITE: THE MATH

    Her discography is available for streaming. Links down below.

    [Apple Music][TIDAL]

  • Why You Should Spin: Still Beauty by zakè & marine eyes

    Why You Should Spin: Still Beauty by zakè & marine eyes

    I was browsing Bandcamp for ambient music, since I was in such a peachy, solace mood. So, these two artists I stumbled upon put together this ambient album and it seems they were also looking for solace as well. I couldn’t find much information about this collaboration besides the album’s Bandcamp page and marine eye’s cloud collecting blog post about this release. She states that she and her collab partner both have loved ones suffering from chronic illnesses and Still Beauty is their way to cope. Zach Frizzell who goes by the moniker zakè, has a prolific discography and has been working in ambient and drone soundscapes for quite a while now. They’re also releasing Still Beauty under the label, Past Inside the Present, an establishment that he himself has founded. Cynthia Bernard who goes by marine eyes is also into the ambient scene, so it’s easy to predict that these two go together like two serene peas in a peace pod. A while back, marine eyes did an interview with Flow State, saying she grew up with an affinity of electronic music and dropped big names like Aphex Twin, Four Tet, Björk, and Brian Eno. She’s a huge fan of the alternative scene too, just reading about her infectious enthusiasm is a delight. This isn’t Zach and Cynthia’s first rodeo together, since they did work an album together, Unfailing Love in 2021, but Still Beauty is new ground for me and after a few listens, I can definitely say this definitely satisfies my ambient loving hemispheres. If tranquility was the purpose of this album then I must say, Frizzell and Bernard it did a stellar job with these calm synthesizers and instrumentals. Since it’s an ambient drone album, Still Beauty provides these long chords that swells, it doesn’t give too much and it’s not so dynamic that’s for sure. If that’s not your cup of tea and that makes you sleep, this will be a tough sell, unless you want the snoozes. To me however, this album has been such a rewarding listen and my mind did reach tranquility that’s for sure. The layered chords provide this peace that reminds me of what ambient artists Stars of the Lid did with their timeless And Their Refinement of the Decline album (even though that one is much more versatile and intricate). Still Beauty doesn’t need to showboat to provoke an emotion as these rich instrumentals even sometimes get cinematic in a way and you have these pictures, vignettes, or footage in your head. Well, that’s how I consume some music, hahaha. Again, it is impressive on how much I am in tune with this record despite they don’t provide a lot when it comes to composition, but something needs to be said about the goal they set out to achieve. And after having some of my stress suppressed with this thing, I think they pulled it off with flying, graceful, soft, natural colors.

    Going over the highlights, “Frosted Glass” gives us this swell of strings and the heavenly vocals Bernard provides. It gives us this feeling of melancholy and somberness, but like many of the other tracks here it provides comfort. “Blanketed” sounds just like its name with this ghostly fuzz in the background looming over. It does sound like processed tape music. The chords coming up and down complement with the same heavenly vocals very well. To me, it’s like watching a montage of someone’s past. “After it Rained” has this soundscape that sounds wavy to a degree and gives us touches of piano. It reminds me of the beginning of Orbital’s “Halcyon On + On” track. It does give me the feeling of being underwater with a lens flare up above. The synthesizer also feels like it’s constantly ascending as well.

    “Day’s End” goes all in with these strings that just fills in as much space as it can giving us that said cinematic aesthetic. “What Was Home” reminded me of Hirotaka Shirotsubaki and how they added sprinkles of guitar to make their track shine. We have “Crossroads” also giving us traces of guitar being played around with the synths. Almost like watching a skyline of a city with all the lights being lit up like fireflies. The closer “Still Beauty” is the longest running time here, and it basically has Bernard’s vocals filling up a lot of space with the synthesizer droning throughout with flourishes alongside. For a closer, it does sound like a conclusion and a closure. It’s like credits rolling in someone’s movie.

    If ambient music is not your thing, then that’s understandable. It has basically one texture in each track with how minimalist it is. There are a few tracks in here that don’t affect me as much as the other ones. It’s just sometimes the formula doesn’t work. It’s one of those genres that either click with you in the beginning or it doesn’t.

    Still Beauty takes its time, so it helps the person listening to it be as contemplative as much as they can. It’s a patient listen and rewards you with the peace you deserve. It doesn’t try to be anything else, add any fireworks, as it knows the assignment. I’m grateful for the comfort this album has provided like a warm blanket or a telescope to cosmic space. It exchanges complexity for the emotions it has evoked and making that possible is more than enough on some other records I have listened that were more intricate. I would definitely listen to this if I need to take deep breaths or contemplate how good I’ve got it right now. The title of the album has a double meaning, the music itself does emulate a kind of beauty that is still itself. You visualize nature or any other serene landscape to appreciate the beauty standing still. That in itself is healing. However, again going back to Bernard’s substack, she did touch on what she and zakè was set out to do for their loved ones and what the title of their project meant.

    “We both still have people we love living with chronic illness, and this album became a way for us to process heavy emotions and to remember there is always still beauty to be found.”

    Cynthia Bernard, cloud collecting

    FAVORITE TRACKS: FROSTED GLASS, BLANKETED, AFTER IT RAINED, DAY’S END, CROSSROADS

    LEAST FAVORITE: MAP OF EDGES

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp][Apple Music][TIDAL]

  • Why You Should Spin: You Seem Pretty Sad for a Girl So in Love by Olivia Rodrigo

    Why You Should Spin: You Seem Pretty Sad for a Girl So in Love by Olivia Rodrigo

    I’ve already talked about her, but she’s worth mentioning again. Me talking about her would be such a drop in the pop bucket as her name is well renowned at this point with the success of her first two albums (the latter Guts being my favorite) and now it’s safe to say her third is a successful hit too. Despite that, the album has made an impact to me at this point that I would like to use this space to talk about it like all the other albums I’ve mentioned on this blog. This record has spent two consecutive weeks in Billboard 200 when it was first released last June. It’s safe to say, that the buzz that came to fruition from her albums were no flukes. I mentioned this before on the “Song of the Day”, but I didn’t really vibe with her until Guts and it made me more open to her music as I heard the captivating instrumentals, the eloquent songwriting, and her versatile vocal chops. It’s not just Rodrigo’s talents that deserves merit, but producer Dan Nigro who has been with her since her debut have both meshed well with each other. There’s a reason why Rodrigo has Nigro at the helm for this long and third time is definitely a charm. And the charm is still prevalent on the Pretty Sad album, but of course there is something in the veneer of this album that has caused her pain and hardship. She states in her BBC interview, that is “a love story that falls apart. A time capsule of a relationship in a few years of my life.” Despite this album sounding so lovely, the lyrical content can be strenuous and you can hear it in her voice. I commend albums with this much self-introspection. No protagonist should be perfect even among God hood, it makes You Seem Pretty Sad so human and relatable, of course. It doesn’t have the hard, rebellious edge as much as Guts, but the ballads and the pop and rock influences can still hit you like a truck. You can feel how personal this was. The audience that were influenced by the artists Rodrigo has been inspired by, would gel very nicely here as we get ounces of Garbage, New Order, and The Cure among this LP. We even have The Cure’s Robert Smith featured on a song here two tracks after a song called “The Cure”. So cheeky! She hones these influences into her music without being a copycat and made this sound her own. It’s important to make this kind of story your own as the rock influences are the backdrop to this pop record. So, it’s not your average pop record and it is a pop record. Not calling this pop record would be such a disservice, but it gives us a new perspective on how pop music can be. It is pop rock that has elegant chord progression and elegant choruses, which makes the listening experiences a nice warm embrace on puffy clouds. All this veneer coating someone’s heartbreak.

    So, I talked about “drop dead” already, but as its opener, it makes such good sense of its role and placement. A New Order inspired new wave greeter that tells us of a character who is so so in love. So much in love, she stalks this guy on the internet. We already see her being so vulnerable for this basket guy she puts all her eggs into. A woman who has ascended so high can fall so hard. A beautiful piano ballad that is “stupid song” gets me vibes similar to “Vampire” from her Guts era, but I ain’t complainin’! From the verses to the chorus and even the bridge, the chords all hit! It all progresses to a groovy guitar and a celestial background vocals. It’s kind of heartbreaking hearing our main character calling her writing, “a stupid song” which makes is more impactful coming from an artist who demeans their own work to communicate to this guy. Whether it’s to make herself modest, or just expose her deepest feelings for this man to get through to him, it does look painful from the sidelines. It sounds like sweet heaven on “honeybee” sounds as calculated to be saccharine as it can be with words of aching. “I hope I never see your what your face looks like going.”, is said when not long ago she states she admires said face. It’s a quiet song and on the stage, it looks like our hero is breaking. We get back on the saddle with this delicious new wave flick with “maggots for brains”. Hmmm, delicious. The chorus hits so well and she laments that her man is gone away and see what damage that has done to her with her distasteful visualizations. For a pleasant song, she does depict her life is in shambles with this casu martzu of a breakup she’s experiencing (Look up casu martzu. I dare you.). “u+me=<3” is easy to listen to as 1-2-3. It sounds like something from the 90s or 2000s with the easy guitars like The Cranberries. I love the buildup to the chorus with this one and how Rodrigo absolutely, positively, with full resolve, that this guy is the one. Despite her saying the same to all her past-exes. This song took me a while to get used to, but I’m liking it more and more. The next song, “my way” gets more synth heavy and Rodrigo sounds like female rock stars of the past, that I honestly can’t put my finger on it. However, she shows her ugly side and gets territorial. On “purple”, it sounds like you’re in a house of worship with this organ in the background, but as it gets more bedroom pop coded, the song goes from heavenly to inspired. She still can’t over the fact that this man is the one. Referencing the BBC interview, she chose the legendary “I Melt with You” by Modern English is going to be her wedding song as she wishes to melt with the other person into this secondary color.

    “the cure” is hands down the spotlight of the album and I’m confident will be the crowd favorite. It sounds like Olivia is on stage with her heart poured out and pleads she’s suffering from an illness. But alas, the the thing that’ll fix her will never arrive. It’s like an epiphany or a revelation that things will not be the same ever again as these wounds got violently split open. You cannot tell me with a straight face that singing the chorus is not going to be catharsis manifested. The cure for the toxins may never arrive, but the songwriting does heal the heart. The guitar ballad that is “begged” vocalizes the number of reasons why Rodrigo and her former lover drifted apart. She pleads for his love, but it remains unrequited. The line about her being a penny in a fountain, waiting for her luck to change stands out to me. She cries herself into this dreamy state, that is “what’s wrong with me”. She is in a bedridden state and is stricken with something that doctors can’t cure, but having a shoulder to cry on does wonders. That shoulder is the man, the myth, the legend that is Robert Smith of course being featured on “what’s wrong with me”. It’s actually pretty surreal hearing his voice here, since it sounds like the man’s voice hasn’t aged like…at all. We get a soft, but strong piano ballad on “less”, as we get to a deep dive on how the broke up right there. I do love how solid the hook is and how the chorus kept evolving until we get the big finisher. The nail on the coffin of that relationship lost in time. The pieces are clumsily being picked up with “expectations” and it picks up the pace after that big emotional hit. It’s Rodrigo’s comedown with these Kraftwerk like synth loops that drives her to be more aggressive. She’s a strong independent woman who don’t need no man! The band Devo is this song’s spirit animal as she copes with herself by saying she has the power and will not settle. The guys who can be her rebounds, are not even worth being her rebounds! The closer, “cigarette smoke” is the perfect bow or bandaid to close this whole show. She equates the odor of cigarettes as something that lingers and in hindsight, it was never good for her. She puts on this grandiose sound that tells of her epiphany that whispers, she should let go of these painful memories. We see the arc of our protagonist going through from agony to self-actualization.

    There are a lot of good songs with their strong songwriting. It’s some of the tracks’ instrumentals I wasn’t into despite they’re solid for the most part. Do me a favor though, listen to the animated series, Gravity Falls opening theme and tell me it doesn’t sound like “my way”. It’s kind of distracting and kind of hilarious my mind went to that cartoon show every time I listen to that song. There. I ruined it for you, muahahahaha.

    I still prefer Guts more on how dynamic it was, but You Seem Pretty Sad for a Girl So in Love is still not something to be be brushed aside. The songwriting is probably its strongest card here, as Olivia has improved her hand and writing prowess. The rock influences of the past are also going to be what draws people in as Rodrigo proudly wears these inspirations on her sleeve. What makes this breakup album very effective, is it will age very well since the lyrics are not petty or superficial at all. It’s a person who laments her flaws, but doesn’t hide them. It’s a process that requires healing, but shows it’s not easy. It’s a mature album and we see her mature on throughout the years in sound and in pen. This album tells a great story through a dreamy lens and displays a great development of a character. So, this art can hopefully reach others that are going through the same thing. It’s funny how the pain and trash of artists can be a gift and treasure to others. Because the character we’re cheering for, thinks her songs are stupid to her, but somehow they can be the cure for someone else.

    FAVORITE TRACKS: DROP DEAD, STUPID SONG, MAGGOTS FOR BRAINS, U+ME+<3, PURPLE, THE CURE, LESS, CIGARETTE SMOKE

    LEAST FAVORITE: MY WAY

    Her discography is available for streaming. Links down below.

    [Apple Music] [TIDAL]

  • Play of the Game: Super Mario Galaxy OST by Mahito Yakota and Koji Kondo

    Play of the Game: Super Mario Galaxy OST by Mahito Yakota and Koji Kondo

    Prologue. The name of this series might be subject to change, but I think it kind of fits. It’s named after that phrase of highlights in the hero shooter I used to play, Overwatch. Obscure game, you might not have heard of it. Because that’s what this series is going to be, highlights. Specifically, highlights of video game music. I’m passionate about music first, but video games have been a huge influence on my life. So, along with all the music new and old, I would also love to talk about video game music. Call me a biased individual, but back then, it felt like the consensus was video game music wasn’t taken as seriously as other forms of music. Whether it’s because video games are considered infantile, I’m not sure. In the past, people were still in deep debate on whether video games were even considered as art. But since the inception of my life, I’ve always considered video game music to be unjustifiably underrated. What makes video game music so enticing is that especially in the past (not the case as often now), video game music goes in a loop as the technology and the demand for more complex structures is not needed if early video games are simplistic. Why go for long overtures when you can just make a minute loop? It gets the job done. As the game industry evolved so did the music. Music is my passion, but I’d say video games is up there. I also intend to discuss about music of games I haven’t even played, since I definitely don’t have time to play the games and listen. That’s an insurmountable amount of time to spend. There’s so much good art out there and I don’t want to exclude a good chunk of art that has a vice-grip hold of my life. So, I want to use this platform to talk about it. I hope people will enjoy this series. End prologue.

    When I first saw the trailer of Super Mario Galaxy (won’t talk about the movie) for the Wii, I was astounded at first. Super Mario 64 already has broken boundaries and I was skeptical that Galaxy might just take advantage of their gimmicks and lost the spirit that made Mario endearing. Boy, I was wrong. The game was so memorable in the character design, the level design, the art, and the mechanics just made the Mario game so refreshing. And the music! My God, the music! The soundtrack was iconic to the point that I felt like the ornate style that came in their subsequent games, not just the Super Mario series, has been influenced by Galaxy. Dude, that was 2007 in my college days. I write this as I slowly turn to dust, but I am so down to talk about this game. I want to make Super Mario Galaxy to be the first subject of the “Play of the Game” series, since I do want to make it a Nintendo game and I want it to be a Koji Kondo joint as that guy has been a huge part of a lot of peoples’ childhoods. However in the vast soundtrack, Mahito Yakota has done the heavy lifting as the complete soundtrack (the Platinum version) has 77 tracks done by Mahito Yakota and four of them was done by Koji Kondo. But there are some interpolation of tracks from Super Mario 64, that Koji Kondo has done that made its way on Galaxy. The music was performed and recorded by the Mario Galaxy Orchestra, as the soundtrack was the first to be featured with a live recording as the previous Mario games were produced by samplers of instruments and synthesizers. So, the production of the music behind this game was so damn ambitious, but man I’m glad they pulled all the stops and whistles. I’ll talk about the Platinum version of the soundtrack, but I won’t talk about EVERY track, since you all have stuff to do. There were so many memorable things from those days, but the music still has lived inside my head after all these years. I’m so hyped to be talking about them here on A Lot on My Crate.

    Image: Neoseeker, Super Mario Galaxy.

    I’m going to go over the tracks in order of the notes laid in the official playlist via the Wiki. Again, I won’t go over every track, either they’re too brief or they’re not as memorable melody wise. It’s generally a symphonic, contemporary classical, or ambient when it comes to the space stuff. Starting with the “Overture”, which is our title screen basically spells the vibe of the whole soundscape of the soundtrack. It has ornate winds and strings, but is accompanied by a beautiful piano and this synthesizer that sounds like a call to a satellite. We are in the cosmos, boys and girls. “The Stardust Festival” gives us the hours of peace before Bowser attacks with this march that sounds very familiar from Super Mario Bros. 3 named “Attack of the Airships”. This is going to be one many interpolations from past Koji Kondo works that were given a new coat of paint, but the dignity and spirit of each track, I would argue, stays intact. So, Peach gets kidnapped! AGAIN. As our mustached hero ventures forward and you get hyped with this cavalier and grandiose piece that is “Enter the Galaxy.” As I also feel that this soundtrack is basically cavalier and grandiose for the most part. Then we plunge into one of my favorite themes and one of the few that was done by Koji Kondo, “Egg Planet”. This track was used in the trailers and you know why. It’s so uplifting. Whenever the string and harp melodies send off, it really feels like your younger spirited self can do anything. One of the most iconic and memorable themes that does good for the ones with heart. I beseech you, if there’s one track you should listen to, it’s “Egg Planet”. I linked a YouTube video of the track at the bottom. We have “Rosalia’s Comet Observatory”, but I’ll loop back to it later, since that track shows up in variations, three times. Moving on, this whimsical track that is “The Honeyhive”, has all these percussion instruments coming together accompanied with brief licks from this guitar to give a tropical feel, while make it playful as it can be. Marimbas and xylophones bouncing up and down just making it so much fun. “Space Junk Galaxy” feels like you’re in orbit with these mellow piano scales and these enchanting synthesizers. It doesn’t try to stand out, but it makes us look at this world in a lens. “Battlerock Galaxy” is so epic in their staccato supporting strings and the chords sounds very Arabian in its melody along with its marching percussion. A must listen to feel like you’re in a grand, suspenseful adventure. And if you want a break from your intense adventure, “Beach Bowl Galaxy” is the oasis along your tough trek. It sounds like an actual party with the festive brass and this flute-like lead melody that goes very well into the accordion passage. It really feels like you’re at the beach just shutting everything down as your worries wash away.

    Super Mario Galaxy Soundtrack Cover Art

    “Buoy Base” sounds like a cavalier march into war or launch into a rocket ship as the dramatic horns and space electronics. “Gusty Garden Galaxy” is upbeat and keeps us in high spirits. The vibe is definitely similar to “Egg Planet”, so I still welcome it with open arms. The melody when the horns come in is always a hoot. So, “Rosalia’s Comet Observatory” has three variations that is spread out through the soundtrack. Listening to the three in sequence is like the theme is evolving of course with the one melody intact. It’s a simple melody that just feels oh so comforting. It’s a waltz that just adds grandeur and luxury to where one steps foot in. There seems to be one or two instrumentals playing at a time in the first one so they don’t overpower one another. It’s minimalist unlike the next two. The second one sounds much more classical as all the symphony strings deliver the melody and you visualize characters dancing with each other. Then number three being my favorite of course, sounds much more high spirited with the winds coming in. The lovely melody is still present. The whole symphonic orchestra just making number three feel oh so alive. It’s such a great tune to come to. I remembered being lost to this tune as you unlock more and more of this hub where this track is present. It’s one of the most magical feelings I have experienced in a video game for sure and I have very fond memories on how the three variations came together. In one of last moments, “King Bowser” just comes out swinging with the suspenseful orchestra just dynamically becoming this epic, grandiose gathering of all the instruments coming together with of course the timpani and these Gregorian-like choir sounding like a battle. “Melty Molten Galaxy” and “Galaxy Plant” all sounds like buildup to the big battle. And the big showdown arrives with “Final Bowser Battle” as we get Gregorian chants that sounds like something from Final Fantasy along with an aggressive orchestra with a sparkling yet lurking drum machine beat. It has each element getting their own spotlight during each arc of the track. They go at it! Blood, tears, and sweat! And then……”Daybreak-A New Dawn” comes up. It’s a beautiful and uplifting interpolation of “The Stardust Festival” as we go back doing a 180 to peace. Saved the princess and saved the universe. The conflict is over and we hear this soft piano ballad that is “Birth” that they only play thirteen seconds of in the game, however this is a must listen if you want them to pull your heartstrings to completion. And you beat it! The credits roll that is titled “Super Mario Galaxy” and it’s a grand medley of past themes that makes you look back at all the good you’ve done as a hero! But the rest of disc one is “Purple Comet” (a track that seems to be on a timer with this sense of urgency), a familiar blast from the Mario past with “Blue Sky Athletic”, and a funky version of the Mario theme on “Super Mario 2007”. If you’ve known how the game ended, I’ll elaborate on that, when we get to finish disc 2 of the soundtrack. Yeah! We got loads to go!

    Image: Neoseeker, Super Mario Galaxy.

    So, disc two has a bunch of tracks that may seem to be extras, brief themes, cutscene tracks, or side gigs for Mario to confide in. There are some space gems here among the 53 tracks that is on disc two. So, I’m not going to go through all of them, just the ones that caught me, so I’ll be quick as I can. Your friend and ally, Luma, has their own theme “Luma”. It’s featured on here as this music box, lullaby-like jingle. It’s very brief, but exudes innocence. “Astronomy Dome” has that elusiveness about it without giving much away in its instrumental, it’s just touches of synths that come in and fade out and this bizarre effect that mimes a spaceship. “Big Bad Bugaboom” is a fun variation of the “The Honey Hive” with a higher tempo and the instruments just dance lively with one another like the xylophone, flute, and mandolin all have places to be. “Aquatic Race” sounds so kooky and off, that it just makes me laugh my gasket off. The broken horn is just hilarious circus confetti and I’m all here for it. “Space Fantasy” sounds just like its name, with the synths imitating winds and gives you this feeling like you’re in the cosmic ocean. “Beach Bowl Galaxy – Undersea” is a variation of…of course, “Beach Bowl Galaxy”, good job, class! But it really does bring out the playfulness of the track as it is more percussive than the original. Fans who played Super Mario 64, will recognize “The Fiery Stronghold”, as it was Koji Kondo’s baby, that is “Bowser’s Road”. This version is much more orchestrated with the drums and these sitar flourishes. Mahito Yakota made this already fire theme sounding more fire. Speaking of fire, this hot tune that is “Dusty Dune Galaxy” definitely feels like a desert theme with its sitar lead melody, but I love how they turned up the bass coming in on certain parts. Whole thing sounds mysterious and tense. I like how eccentric “Heavy Metal Mecha-Bowser” is while giving a sense of danger to person coming to its gates. The chord progression on the strings really sells it. Lastly I want to talk about, getting into “A Wish”. If you’ve played the game, this track is when your friend who has been with you gives their life to save the galaxies. The whole track is 42 seconds and is featured even shorter in the game cutscene, but it those few seconds there is an emotional impact that is prevalent than a lot of music that’s out there. It took me a while to appreciate this sorrowful goodbye, but after so much fun and time flying, a good bye is inevitable.

    Going down memory lane with this music, I’m not going to lie, I found myself in tears writing a couple passages. Like other songs or albums, this soundtrack was a big part of my youth. Super Mario Galaxy does not only felt like this grandiose adventure, but a constant reminder that there are still a lot of moments of wonder…out there. I get goosebumps with some of these tracks and it was a pleasure to have relistened and some tracks I’ve appreciated more with repeated listens today. Beautiful arrangements. Beautiful instrumentals. All giving different emotions. It’s what good art does. You can even implement this music among many scenarios. The more I think about it, the more I think this might be my favorite Mario game. Relevant to space travel, they say “it’s all about the journey, not the destination”, which I agree. In this game, they’re also thinking about all the reprieves too.

    FAVORITE TRACKS: OVERTURE, THE STARDUST FESTIVAL, EGG PLANET, ROSALIA’S COMET OBSERVATORY, THE HONEYHIVE, SPACE JUNK ROAD, BATTLEROCK GALAXY, BEACH BOWL GALAXY, ROSALIA’S COMET OBSERVATORY 2, GUSTY GARDEN GALAXY, ROSALIA’S COMET OBSERVATORY 3, FINAL BOWSER BATTLE, DAYBREAK – A NEW DAWN, BIRTH, SUPER MARIO GALAXY, LUMA, ASTRONOMY DOME, AQUATIC RACE, SPACE FANTASY, BEACH BOWL GALAXY – UNDERSEA, THE FIERY STRONGHOLD, DUSTY DUNE GALAXY, HEAVY METAL MECHA-BOWSER, A WISH

  • Why You Should Spin: Hoggar by Tinariwen

    Why You Should Spin: Hoggar by Tinariwen

    So, telling you where this musical group resides would not exude confidence in me since Tinariwen are made up of Tuareg people, which are a nomadic group from the northern Saharan-Africa region who are Islamic. I knew jack about them before writing this post. Me looking into this band, while I am unfamiliar with the religion and the region is challenging, but hearing this album for the first time has been so rewarding. The history of the Tuareg are so vast and me skimming through their Wikipedia page would not do them any justice as they have been around the North African region for at least 1500 years. With no definitive borders, they have always been on the move between countries like Mali and Niger with much conflict in between themselves, the governments, and even with Westerners. They are known as “blue people” as these people wear long blue turbans and veils. That’s the very truncated description of them, so I’ll do my best to give the band justice into their history. Tinariwen has started with a man named Ibrahim Ag Alhabib who saw his father become a casualty of war via execution around 1963. According to their bio, Ibrahim would bring together musicians to perform at events for exiled Tuareg. Their name Tinariwen, came from their most popular spoken dialect the Tamashek as “The People of the Deserts”. The band has went through many members for the years and even went up in arms under Muammar Gaddafi’s banner when he promised them refuge in exchange for fighting. Yep, that Gaddafi. So, I must disclose, I don’t know all the actions they’ve done, but later fought in the Tuareg rebellion against the government in the 90s. After that, no more fighting. As they decide to do what they do best, make music. They wouldn’t do album cycles in the early days. They would share with other members of the community not by streaming as that was not a thing back then, but with cassette tapes and pass them back and forth. They would do it for charity and they only ask for a tape to record on. Before Hoggar, they have been doing many releases since the 90s. As they finally are doing album cycles with more professional recording equipment. No more dusty tapes, as they went on to SD cards in phones, and then to streaming in our digital age. They were all in it to win it. And it has gotten to travel so far to reach to my ears under the Wedge record label. Their genre is apparently Tishoumaren, also coined as desert blues. The blues label makes sense if you hear Hoggar and its contemporaries’ sound. The guitars, especially the electric ones, are repetitive and sound dirty as if you hear some blues rock coming from the deep South of the US of A. Western influences has touched this genre and the repetition does remind me of the musical greats that come from Mali (see Na Hawa Doumbia and Oumou Sangaré as I highly recommend!), with the repetition and percussion, but Tishoumaren is not only raw in its culture embedded in their music, it can be danceable I find it to be. You also have the vocals of men and sometimes women come together on some tracks. They come in harmony, albeit not at perfect synchronization, but it doesn’t need to be. This is a celebration of what they have accomplished and what they have survived. Me not knowing a lick of their Tamashek language, they have thankfully provided a brief translation in multiple tongues on their Facebook page for Hoggar. So, I’ll be using that as a reference with many of the songs composed by Ibrahim himself. It’s well produced, but it’s also a really catchy, wholesome, and warm album, that’s sole purpose is to bring others together. Even if you don’t know the words to sing to it, Islamic or not, you can understand what emotions and prayers have been expressed within the instruments and their vocalizations. It’s spiritual. That itself makes it relatable and it astounds me that it can have the power to do that overseas.

    Embed from Getty Images

    Tuareg man standing in front of his camel in the desert, North Africa, Tamanrasset, Algeria. Photo by Eric Lafforgue via Getty Images.

    In the opener, you can hear the song structure working out for them on “Amidinim Ehaf Solan” with the background supporting vocals answering the main vocalist. Fans of the blues knows that electric sound, but the vocals provide this embracing atmosphere. Embracing it is, the lyrics are tragic as they want to unite despite their home being war torn. “Imidiwan Takyadam” sounds lovely with these idiosyncratic chord progressions and its trance-like percussive elements on their guitars. It really sounds like something Michael Hedges or Andy McKee would be behind the mic for. This second song even has one of my favorite singer-song writers featured on it, being Swedish José González and his gentle lullaby-like singing in his Spanish native language. “Imidiwan” pleads with the ones fighting on how they’ve “forgotten their sisters, who they’ve left behind” and point out the consequences of their actions. It was a raw moment when even the vocalist almost lost their place during this song. Possibly, the only song out of the whole album sounding really down and dirty is “Erghad Afewo” as it sounds very very much like it came from the sweatiest swamp in America’s south. The guitars reminding me of BB King and Buddy Guy feeling like they’re in the room with them, and with this aggressive tone, it was hypnotic as you get lost in those chords. But reading the translation, they did not hold back on what aggressors has done with gritty visualizations of, orphans, trafficking, and rotting carcasses. If you want to get your anti-war message across, you’ve got to get as ugly as they are. “Tad Adounya” turns this bus around into a laid back trance and then we step into the light that is “Asstaghfero Allah”. This song is probably the most spiritual as they sang their praises to their God and display their faith hasn’t wavered. It’s one of the most upbeat songs and does evoke emotion in my agnostic heart. And the upbeat mood doesn’t stop here, folks! We got “Sagherat Assani” coming in the ring with the chair! It’s one of my favorites on here. It’s a traditional Sudanese song apparently, which is very appreciated by these Tuareg musicians. The percussive nature of the claps and the drums compliment the supporting vocals to unite the people in that recording studio. Sulafa Elyas from Sudan is an appropriate feature who has added much color, intimacy, and gentleness to the track. It’s a song that celebrates women as you would think the praise they received is just as much as the God from the previous track. By and all, this song is so danceable and probably got me moving the most. It’s a wholesome statement that is full of empowerment.

    “N’ak Tenere Lyat” is somber in tone, as they describe the lands as bare and lonely. Can you blame them for thinking that if your home is constantly getting decimated. Even crows and vultures are also being used as symbols being effective there just as they are in the west. The next song “Amidinin Wadar Nohar” is so so Mali coded. The bouncy mood fits those bouncy guitars that got me imagining Oumou Sangaré is about to be tapped into the ring (why am I thinking of wrestling all of a sudden?). It is a song about pleading with their childhood friend to try to remember the reason to live through all of this. A tall order yes, but Tinariwen asks their friend to not only fight for your memories, but yourself. The next one is a goodie, since “Khay Erilan” is so brief, but raw as you can hear the vocalist almost break several times. Blues lovers will definitely be into “Dounia Tau Ray” with the guitar playing, but it does sound like it’s from Mali for sure on how engaging it is. The song is juxtaposed with the rough sounding voice of Ibrahim and men chanting pretty profound lyrics according to the translation:

    “Oh life! I swear to God, nothing in it can be guaranteed, or be trusted in the slightest.”

    Tinariwen, “Dounia Tau Ray”

    It’s a sound of a group of people just keeping their peace. It kind of resonates with me, even though I’m not a religious person at all. It feels so real to them. The whole album ends off with a dark cliffhanger as we don’t know if the characters who brought us harmony into this dark world will make it out alive. It’s a spellbinding and suspenseful closer and you want to cheer for these guys to make it out as their people fought the Wagner Group like they did with the Malian government. It’s one of the most desolate endings to an album that preaches wholesome unity and has given the artists an ambiguous ending.

    If holding hands and singing “Kumbaya” is not your thing, then this isn’t for you. Not the actual tune, but the message and mood it brings then yeah I can see why it wouldn’t resonate with you. Except for a couple of songs, the whole album is one track on one emotion and message and that’s fine. Some songs and even the songs I liked can be derivative, but that’s not the end of the world and it’s not distracting. “N’ak Tenere Lyat” kind of dragged on for me though.

    Music can reach heights that in my opinion, gods could not. It can also be a powerful weapon. Especially against the oppressive, because you know they would do nothing, but to stop any forms of criticism or spirit. Music is an effective way it helps others cope in this God awful world. Hoggar makes you stop and listen to the sounds as hypnotic as it can be and it has me under its spell the more listens I have under my belt now. I love it even more now. Tinariwen takes advantage of that to relay their anti-war messages. It’s a universal feeling. You don’t need to speak Tamashek to understand the emotions and roughness on these tired and hopeful voices. But one of the founding members unfortunately gave a depressing interview to Double J:

    “Honestly, I’m not really positive about the future of our people.”

    Abdallah Ag Alhousseyni, Interview, Conducted by Double J

    From how the album sounded, if you don’t know the language, you would’ve guessed they’re doing just fine. However, even though they are loved by many and go to many concerts and gigs around the world, they are still on the run from their homeland’s monster and demons. I guess that’s what makes them nomadic. It’s an album not only of unity, but survival. Like the nomadic Tuareg people themselves, Tinariwen keep on moving to more music. Hell, they’ve been doing it for more than three decades at this point and I hope they keep on creating such beautiful art. So, they keep on moving. Because it’s not the land they traveled on that defines them, but their people.

    FAVORITE TRACKS: AMIDINIM EHAF SOLAN, IMIDIWAN TAKYADAM, ERGHAD AFEWO, ASSTAGHFERO ALLAH, SAGHERAT ASSANI, KHAY ERILAN, DOUNIA TAU RAY, ABA MALIK

    LEAST FAVORITE: N’AK TENERE LYAT

    You can purchase this album on Bandcamp and their discography is also available for streaming. Links down below.

    [Bandcamp] [Apple Music [TIDAL]

  • Why You Should Spin: Trinket by tsubi club

    Why You Should Spin: Trinket by tsubi club

    So, when this album cover came my way on Bandcamp, my first thought was it was going to be some sort of retro 8 bit throwback. It looks very video game inspired in its Wimmelbilderbuch of all these characters and objects clashing together for space on the canvas. After listening to it, it’s not what I expected, but the music that Trinket has displayed on here, fits the atmosphere and sounds insanely colorful and fun. This album fits in the realm of hyperpop and digicore, which are two eccentric genres that synergize so well together to make the chaos of tsubi club’s Trinket. He goes into the album of someone who is trying to get by and grasp on who he is himself. A very understandable and normal thing young people do as they get thrown into the scary new world. Its upbeat art is used for lashing out, venting out, and crashing out with its 28 minute runtime. And someone like tsubi club (known as Soren) was able to take that chaos and was able to make a hot mess of a sound to not sound like a mess. I’ve never heard of the man before, but Soren has been making music for a long time. After sporadic releases he decides to come out in full swing on this debut from last April. I can tell how his eccentric character is chronically online. I mean…he has a Newgrounds account for God’s sake! He’s not even afraid to express his love of cartoons here. I hear influences of Porter Robinson and some verses he reminds me of singer and rapper, Aries. The album even has some emo in some places. So, even though it’s not a video game salute with its Dr. Wily-ass character on the cover, however Trinket is fun, whimsical, explosive, and most of all, very human.

    “Reclusive Wizard Leaves Tower” is a great intro to going to adventure the unexpected with its dynamic progression to this explosion. “Alright, not bad, kid!” “You’re Serious, Aren’t You?” is another moment where tsubi club hypes up the moment going into “Lil Qoo”. If you want to get hyped, listen to this song as it is loud and infectious in its hook as Soren uses his interest in art to become the metaphor of his outlook of life. Hell, even the bridge is catchy as hell! Well, double hell! The things I loved about “BURNMATERIAL” were the pop rap verses, the way it builds up at the end, the screaming, and how expressive Soren came to be here. The next track is stylized as (╥﹏╥), but Soren said this track is named “motion sickness”. He goes into the anxiety that has got him discombobulated from either the pressure of his social life or his creativity. It got us a good banger though!

    It sets us down on “(fallout)” and we landed smoothly, but with comfort, it takes us up again in this inspirational progression. “Walk it off, kid.”, the supporting role model says. As “all-time chump” gets a little industrial and we get thrown with these chopped up vocals, as Soren gets thrown into the arena fighting for his life or the approval of his fans. We have no choice, but to cheer him off with these catchy refrains and these industrial claps going on in this colorful pop pep rally. We get a rocker on “bbbackboard” as it sounds like the running of a school hall with Soren fighting for himself and others. Others being as some people interpret for consolidating his trans friend for coming out as he stood by her side. It’s a sweet tune. After reminiscing about the old times on “Recap”, he ends it by describing himself as drowning, but comes back swinging on the closer, “landslide”. Man, at first I wasn’t into it, but this might be one of my favorite closers of the year. It’s a warcry, a cheer, and a slap on the back to keep you on keeping on. I love Soren’s interpolation of a tune from the goated show, Clarence (despite its horrific creator). But the line, “I’m feeling the pressure, only gets better.” is such an uplifting bar, as it tells anyone who’s struggling, don’t give up on your dreams or yourself. The man then tells you, “You did it kid, you won by a landslide!”

    I can take or leave some of the tracks here as they don’t hit as hard as the favored ones for me, whether it’s not as memorable or they’re too short. So, if having a short album has these speed bumps then it does kind of hinder the experience. “You’re Serious, Aren’t You?” being the biggest offender as it just seems to be a buildup to the greater “Lil Qoo”. And I just want more content in Trinket. More of this fun creativity.

    This album was fun, but it grew on me with repeated listens. One thing, I’m grateful of this blog is I give albums like these more of a chance that I would dismiss these after one listen. But I’m sure other artists would get lost in the ether if everyone does that and tsubi club is no exception. Soren talks about the expectations of how his art would be received, but he should be damn proud of himself. It’s not only colorful bangers here, but it has very relatable words of wisdom to get anyone on track with their life. It’s a very brief album, but it has more bangers for its buck. The positivity here is authentic as much as its fun factor. But I’m happy for the cartoon homages and also happy for the actor, Daniel Riordan chiming in to be your cheerleader on the sideline. Because Soren wants to let you know he’s got your back, as you swing the bat harder and hit the ball farther.

    FAVORITE TRACKS: RECLUSIVE WIZARD LEAVES TOWER, LIL QOO, BURNMATERIAL, (╥﹏╥), (FALLOUT), ALL-TIME CHUMP, BBBACKBOARD, LANDSLIDE

    LEAST FAVORITE: YOU’RE SERIOUS, AREN’T YOU?

    You can purchase this album on Bandcamp and his discography is also available for streaming. Links down below.

    [Bandcamp] [Apple Music] [TIDAL]

  • Why You Should Spin: Cost of Living Adjustment by Cola

    Why You Should Spin: Cost of Living Adjustment by Cola

    There was this band from Montreal named Ought. They were hitting it up in the underground indie scene for a solid ten years. All of a sudden, vocalist Tim Darcy and bass guitarist Ben Stidworthy decides to branch out on good terms and go for a new name with percussionist Evan Cartwright. It didn’t sound like they abandoned their indie/punk identity, but if their new name is Cola it has to mean something. But ok, their name does mean something, it ain’t the fizzy drinks, but it’s an acronym that stands for “Cost of Living Adjustment.” I stumbled onto this album on the greatest website ever in the known cosmos that is Reddit, so I was late boarding this train. So, like the woman with the math equations meme, I was wondering why their third and latest album was their self titled LP. My guess? It’s how the people in these capitalist societies aren’t being taken care of when the suits try to smother and then phase them out slowly. It is a punk thing to do and on the right side of history to jump the fence to be with the side of the people. So, the three members chose this project to be their actual anthem. Listening to this album, I was already content with how it sounded. It’s very old school rock that reminds me of Television and the Clash. Tim Darcy even sounds like Joe Strummer a myriad of times throughout the record. It’s a sound that has aged and made a lot of copycats, but I think Cola did right here by knowing their strengths and commit to strong grooves and an upbeat veneer to Cost of Living‘s dystopia. It’s the kind of instrumentals that make me lost to dancing and lyrics that can be empowering when the world is against you. They touch on subject matters that pertain to people being exploited and the damage that has been done. Subject matters that are a downer sure, but they are backed by these uplifting, sun-drenched, ethereal guitars. It’s a tactic that works. Therefore, I’m glad I finally get to board this train at least.

    Even the somber first track displays that groove as the song “Forced Position” directs us to the enemy of our character, which is the mundane and routine. The refrain of “I can see it breaking” line tells us that our narrator might be at their limit as our opener acts as a catalyst. I love “Hedgesitting”, as it is probably the catchiest one of the whole album and the progression to each chorus gets as more emotional the longer it goes on with their distant hazy guitars. It’s a song that has playing in my head for days and I often think on how it reaches nirvana at the end. What I liked about “Fainting Spells” is how cheeky Darcy has been throughout song. He portrays someone who is so detached, but can’t even faint in their empty room, since they have no chaise lounge to fall back on. Colonel! I’m having the vapors! Forgive me for saying I do like the bouncy bass and guitars that sound like they’re farting in “Haveluck Country” that grows into a serene refrain of “vivid luck…vivid luck…”, which does act like an actual dream. The cynic from Darcy bursts into the seams on “Satre-torial” and this song definitely sounds like something that came out of the 70s. We also have “Polished Knives” slowing us down, but it hits us with another infectious refrain.

    “Much of a Muchness” reminds me of the early Strokes as Darcy brings out his Julian Casablancas. After “Third Double” being a slow dance, we have “Conflagration Mindset” picking up the pace. The way it sounds is like it traps you in a lost time. It’s beautiful jam. I love how it does a 180 and circles back to the beginning in the end. We get to the penultimate track that is “Favoured Over the Ride” that shows we’re nearing the light at the tunnel with these inspiring keyboard arpeggios. Then “Skywriters Sigh” is our closer while they hit us with a nihilistic nail and hammer that they don’t care about your well being. Touches back on the motif of the album and brings back the rain as its symbolism.

    The instrumentals are the strongest point of the album. Because it’s a sound that has been done a lot, then if that falters or becomes derivative, it kind of gets stale in some tracks. “Third Double” is a track that becomes very downtrodden and just drags on for me. Also, even though I understand the songwriting in the “Skywriters Sigh” closes the album. Sonically, I wish that one and “Favoured Over the Ride” swapped track order, as the latter did sound like a glimmer of hope.

    Not only will the indie scene would appreciate Cost of Living Adjustment, but I think the old school music fans would be down for this sound. I’m going to have to look back into their discography and their Ought selves. This has been an enjoyable listen with lovely grooves and jams with a cynical, yet noble message. I appreciate the band referring the rain. I appreciate the catchy refrains. I even appreciate Darcy being such a versatile vocalist as you can tell he’s very much influenced of the times. If they chose this third album on their belt to be their self-titled opus, then I’d say this is a great footprint to start tracking them on. The last song says don’t romanticize a better time, but I don’t think they’d protest if you use this album to act as your vessel for that!

    FAVORITE TRACKS: FORCED POSITION, HEDGESITTING, HAVELUCK COUNTRY, POLISHED KNIVES, CONFLAGRATION MINDSET, FAVOURED OVER THE RIDE

    LEAST FAVORITE: THIRD DOUBLE

    You can purchase this album on Bandcamp and their discography is also available for streaming.

    https://bandcola.bandcamp.com/album/cost-of-living-adjustment

  • Why You Should Spin: Cry Baby by Vince Staples

    Why You Should Spin: Cry Baby by Vince Staples

    This was one of my most anticipated albums, ever since I saw the name and cover art, which guffaws my craws. I knew this album was going to be a banger. It also turns out, this is probably one of his most important albums to this day, despite Big Fish Theory is my favorite from him still. Vince Staples is a hip hop artist that hails from Compton, California and he and his family were no strangers to hardships. I feel like he was able to gain his empathy when he sees how overworked his mom was while diagnosed with cancer and the number of times his dad went to prison. So, he has been a pioneer and a fighter since he can remember. He grew so much on his Dark Times album as he was able to mesh his charisma into his music as performance art, without being performative. This is a man that is very self-aware. He not only raps about the systemic issues of the red, white, and blue, but as well as his struggles with mental health as he goes behind the loudspeaker. Here in Cry Baby, the loudspeaker gets amped up and Vince Staples does something different by implementing elements of rock and punk into this new LP. My first exposure to him was through his feature in electronic artist Flume’s album, Skin where he was able to flow through this zany beat. A feat that a lot of rappers cannot do, however he did it as easily as breathing. So, this skill made me follow him into Big Fish Theory when that project’s beats were the most eccentric, giving Staples an edge that can cut butter like a hot knife especially with the late great electronic producer, SOPHIE (one of my favorite artists). This has been proof that this man has been ambitious his whole career. He’s not only a silver tongued lyricist, but he charismatic. I was entranced on how well he uses his words when he was sharing his picks in his Criterion Closet Picks or being cheeky and hilarious with his comedic interview with Ziwe’s Iconic Guest Series. The man is an art’s artist. So, here comes Cry Baby and you can guess what he’s going to be talking about in his latest album. It’s an angry album that he is upset about and talks about his and our grievances on what’s wrong with America today on how they treat their black people. This new fresh coat of paint sound is a rock vibe, so again with Staples just challenging himself to just be different as much as he can. The rock vibe does work as it does bring out that punk energy and the hooks even have that anarchistic angry feel. Staples decides to weaponize his words, not out of hostility, but because he’s fighting back with them fighting words.

    And right out of the gate, he’s throwing hands with the single that gave hype with this album with the relentless and unforgiving “Blackberry Marmalade.” with the first line criticizing the dark origin of the U.S. and the second line smack talking Kanye West. It is a no holds barred post-rock banger and Vince shouts his grievances on top of a mountain of the systemic racism that has been happening in this country towards blacks since its inception. A laid back “Go! Go! Gorilla” has this chant and cheer on the chorus that seems to be dehumanizing people like Staples as if they are the villain, no matter what they do. As Vince Staples telling us they even brand the victims had a gun on the news. What I love about “White Flag” even though the instrumental is kind of underwhelming, is the tidbit that hip hop fans love the art, but not the people who create the art on the verse, “Squabble up, I see the Devil in the audience.” We have seen this time and time that some racists do love the culture, or what they’ve done in sports, but the subconscious voice in the back of their mind will refuse to see them as equals. It’s still heartbreaking that people who go through this turmoil sometimes give up at the end. In “The Running Man” I like the echoed “run run run” chant and evolves into they can’t “run or hide” anymore, but also there is a sense of urgency and suspense in this one. “TV Guide” goes into how propaganda makes us overlook so many injustices happening here. I love the shade against the crypto bros.

    You can guess who the wolf is on “The Big Bad Wolf” and I love the sample and salute to the classic rap classic that is Slick Rick’s “Children Story”. Next song, “Only in America” I like the catchy chant and how hard it is to love the place you live in when there’s so much against you. We have this sinister beat on “Do You Know the Devil” as the aesthetic is oh so appropriate on who the Devil is. Staples opens up on how he used to collude with him and was not the role model we would see him today as he truly was in the past. He voices regret. He voices redemption. Props to anyone who has grown out of their past self and tries to do right today. Vince visualizes himself as cotton in the next song. It’s not a coincidence he chose “Cotton” to be his altar ego as that’s what others see him as….a commodity. A negative connotation behind this specific commodity. In his case, it’s the music industry, but you can apply this to many other fronts that is occupied by African-Americans. “Keep politics out of my *blank*.” they say! We end things off with “7 in the Morning” talks about the genocide that is happening in Gaza right now as it sounds like a somber western. There’s a bonus track to this album called “Tulsa, OK” referencing the “Tulsa race massacre”. I’m already going to give props and points to that song, since that historical event was not taught to me in school, so everyone should be aware of that bullcrap. Unfortunately, it’s only found on physical copies of the album.

    The last leg of the album is ok, but half of the beats of this album can be underwhelming. I really empathize with the message of the songwriting and that is the strongest element to Cry Baby. The instrumentals can be really forgettable sometimes. I do fuck with the message of all of the songs even for the last one. I just wish it didn’t go out in a whimper.

    This album is definitely going to ruffle up some feathers and pearls will be clutched, since it’s a subject matter that is definitely sensitive and unfortunately will fall on deaf ears. However, it’s an important subject as Vince Staples just smashes subtlety with a sledgehammer and tells it like it is and how it has been. I like Big Fish Theory more, but I’m so glad Staples lets it out on here. It is an angry album and why shouldn’t it be? This stuff should make you angry if one should love thy neighbor.

    FAVORITE TRACKS: BLACKBERRY MARMALADE, GO! GO! GORILLA, THE RUNNING MAN, THE BIG BAD WOLF, ONLY IN AMERICA, DO YOU KNOW THE DEVIL

    LEAST FAVORITE: 7 IN THE MORNING

    You can purchase this album on Bandcamp and his discography is also available for streaming.

    https://vincestaples.bandcamp.com/album/cry-baby

  • Why You Should Spin: Written into Changes by Avalon Emerson & the Charm

    Why You Should Spin: Written into Changes by Avalon Emerson & the Charm

    Like Paul Revere, I come to you by horseback to announce a bop of an album! Actually by Toyota Corolla as I blast the speakers with this indie dance pop that can induce such a high. Written into Changes is a feel good indie pop album that makes one feel light in the air to the point of flight. The first time I’ve heard of Avalon Emerson, was when I was on Tidal and stumbled onto her single, “Eden”. It was a non-apologetic throwback of Y2K pop and it reminded me of some Suzanne Vega and Frou Frou. Hell, it even sounds like a track Caroline Polachek would spearhead on. This pop single was so infectious with its guitar and bass licks and the chorus is so uplifting. I also absolutely love love the synthesizer giving us the exit. It has been on repeat for the longest time and I have no doubt that if this song was on the radio in the 2000s, it would be a platinum hit. Hands down. So, after “Eden” occupied my mind after one listen, I have been waiting with bated breath. Thank goodness, it did not disappoint. Because when Written into Changes came on release, it has made me enthusiastic to ramble about this for quite a while. This album is sunny fanfare and there are many more songs that are just as sticky as “Eden” with their melodies and hopping on different styles, because the hits just keep on coming. This isn’t Emerson’s first rodeo, as her debut album was funnily named & the Charm. Before that, she was a techno DJ, which she has honed her craft to enhance into making her pop more danceable. It’s like this genre is second nature to her. In an interview with The Line of Best Fit, she coined the Charm name to keep her identity with her techno self, so that makes so much sense. What a conversation piece and a suave pickup line to say you’re named “the charm”. But she states that she will continue being a DJ. (Check out “The Frontier” on her Whities 006 EP. Soooo good). She worked with producer Nathan Jenkins aka Bullion on her debut and they join forces again on this one. Anyhow, as Emerson and Jenkins clasp hands to make this tour de force, they have reached a plan and sound to make this work. And they did. The techno DJ made a great pop album. That’s something you can wear proudly on your sleeve. If you need feel good vibes, then this thing works like a charm…damn. With every fiber of my being, brother. I really tried not to do that. But I can’t change what is already written. Wait a minute…sonuva-

    So, I already talked my head off of “Eden” as it’s so bold to slap this baby as your first opener. But I was going to suggest if you weren’t going to listen to this album anyways, then at least listen to this one. It’s a bop and a half that is a taste and a tease of how pristine this pop album can be. And if you think that’s good, we take a trip to “Jupiter and Mars”, co-produced by Rostam Batmanglij formerly of Vampire Weekend fame. “Jupiter and Mars” is a shimmering cantrip from one who is reminiscing the fleeting old times with someone. For something that gives a somber atmosphere, it gives us this upbeat instrumental that helps enshrouds you like a positive aura, like what good pop music can do. I absolutely love the background guitar and bass licks on the second chorus. “Happy Birthday” is another way of coping via bedroom pop with a cute drum machine beat with a catchy “Too young to die” hook. We get our title track, “Written into Changes” and Emerson goes into an acid trip with her voice in this ripple effect and tells of her story of leaving her era in Berlin according to the above interview. The person/reason she’s knocking on their door, is it for another person or herself? I love “Wooden Star” as you can hear Emerson’s DJ altar ego peaking out. The air and atmosphere of this dance track seems really cold, while the lyrics describe the empty half of the glass. It’s a catchy, ghostly tune with our hero struggling to keep their head above water.

    We get hit with “God Damn (Finito)”, as it goes into this 80s synthesizer coded jam. Then after that, Emerson puts the dream in dream pop as provides us with a bouncy tune called “How Dare This Beer”, the vocals are reverb and washed out to hell, but it works in the song’s favor as the playfulness goes up to eleven. The lyrics are so whimsical and fun as there are bars like, “Bubbles dare tickle my tongue”, “A hoedown of luminescent fireflies”, and the wanting to be smothered with soft pillows. “800 threads and counting.” It’s as if she’s on cloud 9 at that moment. There’s a throwback to early 80s synthpop on “Country Mouse”, as our brave protagonist is in the big leagues with big dreams. From Emerson’s experiences with big change, it’s not farfetched to say it’s relatable when she goes on how scary it can get. But what’s imperative for her listeners, is what she does here, is she makes it inspiring and gets you hyped. It has to be, if you want to make your tiny mouse mark on this Earth. We get another amazing soft rock cut on “I Don’t Want to Fight”, it reminds me of what HAIM did on their Women in Music Pt. III album, which is my favorite album from them by the way. It has those playful guitars and a hip hop inspired kick beat on the verses and then it gets scuzzy and dirty on the chorus. After her big transition to an unknown environment, she’s tired and wants the exhaustion to stop. Valid. The struggle is real. But all good things come to an end with this summery, ornate slow dancer that is “Earth Alive” with Rostam standing next to Emerson at the helm again. You want to feel good about the ending, because we all wonder what the future may bring and if you’ll see those people you’ve known ever again. But she leaves it ambiguous, because in reality, it sadly might not happen.

    The only few complaints I have for this LP, are only the two tracks being “Written into Changes” and “God Damn (Finito)”, I liked the lyrical content of the titular track, but the production is too washed out for me before the pretty choruses and the latter sounded like an interlude that drags out too long.

    This album is liberating and is someone’s way of telling you to keep on keeping on. She understands what you’re going through. She gets it. She has been there. Change is scary. But different and being uncomfortable is what got her this far and so far, this will probably be her most successful project as of now. It’s so impressive to not know what your favorite song is on this album as I already loved its single, it just proves that was not a fluke. I’ll always applaud an artist that takes that leap of faith to do something different and refreshing. This record is catchy and sticky. What they made is something that is the feeling of freedom as Emerson takes off out of her comfort zone. She dominates her fears and transformed them into fun art. It’s an ambitious statement. That she is absolutely fearless.

    FAVORITE TRACKS: EDEN, JUPITER AND MARS, HAPPY BIRTHDAY, WOODEN STAR, HOW DARE THIS BEER, COUNTRY MOUSE, I DON’T WANT TO FIGHT, EARTH ALIVE

    LEAST FAVORITE: GOD DAMN (FINITO)

    You can purchase this album on Bandcamp and her discography is also available for streaming.

    https://avalonemerson.bandcamp.com/album/written-into-changes

  • One Year Anniversary!

    So, technically I’ve been here for a year on the 23rd of June, but I wanted my feeble little horse promo to have some air. But talking about music just lights a fire in me. This blog has been so much fun. I’ve been wanting to post more than once a week, but writing a post takes so much mental energy as people on here would know. So, for this one I think updating my “About” section, which would be appropriate and let anyone who drives by here know more about me. I still got a backlog of albums I want to talk about and share and there are some travel experiences I wanted to share. I’ve also been pondering on how to make this blog more unique and I have one idea in the chamber I can pull off that is still music related. I sound like a broken record, but again, thank you for reading this. I can’t wait for the future.

    Behind the curtain

    *About Me (Subject to change)

    Welcome to my blog! My name is David. I reside in Lexington, Kentucky and I am just a guy who loves music. For the longest time, I just love talking and sharing music of all shapes and colors to anyone. Because of this, a friend convinced me to start this blog. So, the purpose of A Lot on My Crate is kind of just helping me scratch that itch, but I am very earnest when it comes to wanting to support artists who have given me so much joy in their art. I have series, such as “Songs of the Day” and “Why You Should Spin” that goes into songs I am into, or albums. I will be talking about the present and the past and share some experiences or afterthoughts in my mind. I also pride in how diverse my picks have been as I love most genres and will be talking about any song/album on here. Since writing about these, I’ve not only appreciated the craft more and more, but it made me look into their background of the artists and the songwriting. There are so many other facets to look into this that makes writing so enriching. I am so ecstatic for the future and what this page will look like the next upcoming years.

    FAQ

    *What is your name?

    • David

    *Favorite dinosaur?

    • Stegosaurus.

    *What is your favorite color?

    • Blue! No, wait!

    *Who’s the cutie at the bottom?

    • My kitty cat, Charli. You can guess who I named her after.

    *Got any hobbies?

    • This schtick. Collecting records. Video games. Board games. Cartoons and anime. Going to the gym.

    *Biggest fears?

    • Heights
    • The crushing dread of not knowing an impactful song that just came to in a blip of my existence, while knowing I’ll never reach that nirvana ever again as it fades away from my fleeting memories…..
    • Mannequins
    It’s Charli babyyy
  • Why You Should Spin: bitknot by feeble little horse

    Why You Should Spin: bitknot by feeble little horse

    In 2023, there was this band that rocked the indie scene. And that indie rock band was a whimsical group named, Feeble Little Horse. I was really into their second album that probably was the one that got them the most buzz and success in the underground. I became a fan when this album checked all the right boxes when it comes to just wanting to vibe out while being in this nonchalant, playful mood to fill up the time. That’s what their album Girl with Fish did, so this surprise third release had big shoes to fill. But boy, did this release take everyone by surprise. I feel like fans of the band would be into this still, but this record is even heavier and utilizes electronics. Also, not only do they feel more brief, but the album feels much catchier in my opinion. I’ll preface with this, I still think Girl with Fish is a better album as it was more distinct and cleaner, but this was such an intense, enjoyable, and even cute listen. That is the magic of Lydia Slocum’s voice in this assignment (accompanied by Sebastian Kinsler occasionally), her tone and inflection is sweet and nonchalant that can be used in many moods and pieces in their songwriting. They know how to make themselves feel bombastic and Betty Boop at the same time. They’re one of a kind and hearing their sound, you can see why they’re a big name these days.

    “Doorway” lives rent free in my head as it is such a crazy opener with varying themes in this one track. You got the grunge, you got the calm before the storm with this radar sound effect, and then you got the most absolutely zaniest ending one can give us. I still think about the ending of “Doorway” in my dreams. “Poison” has this sick guitar feature, which was enough to win me over with how brief it was. “Rewind” gives us this sweet as honey hook and melody with a repeating, “It’s harder to rewind, than to see it at the same time.” Something about “Shady” makes me think of the “Milk and Cereal” by G. Love and Special Sauce with how the chord progression went, but Horse pumps the brakes in this one. They wrap their arms around you saying they’re off to cause some mischief! You feel like you trust them for some reason. “Dior” is a character portrait of someone who might be lost in their own sauce, while making sure others are not as cool as their own cool club. Slocum’s demure disposition works well here, as the song can be a tale for someone who chases too hard or they have lost their sense of self.

    “Cradle” is probably the loveliest of the bunch, while it sounds like a sway back and forth with the catchy “the way you do that”. It sounds like a such a happy time that one doesn’t want to end. It references a house and a baby’s face. There are no worries in this song, as it just sounds like the good ole’ salad days. “Upside Down” is so catchy their “upside down” loop and this fuzzy, dreamy pop production makes it more mystical. We get this distant, emotional arpeggio in “Shopping” that complements with the low key verses. It’s the band’s way to let us look into the lens of how technology and branding can make us go over our heads. Then we get a big rocker of an ending of “DMT”. I absolutely love how the distorted electronics play into here as suddenly go into this explosion of sound and how she goes into screamo mode. It ends all of a sudden, but headbangers will appreciate this.

    I didn’t see the point of “Paris” and “Guts”, as the former was so brief, I didn’t get a chance to digest. It sounds very much like an interlude of fantasy creatures, which is all in well ok. And then, I couldn’t vibe with “Guts” little rewind effect or so on whatever that loop is in the background. These songs seem to be too short and as much as I love “DMT”, it did end abruptly, which made me feel indifferent.

    The album seems like a skipping stone across the pond, but like the act of skipping a stone, this was still an enjoyable listen. They know how to get their audience going and how to capitalize their style. Indieheads will love this, even though I wish it has more, having good tracks to vibe with from bitknot is still a blessing. So, if one has a long face, then give this album a listen! The horse is gentle, but it does have a mean kick to them. Yeah, I had to insert a horse shtick somewhere.

    FAVORITE TRACKS: DOORWAY, POISON, REWIND, SHADY, CRADLE, UPSIDE DOWN, SHOPPING, DMT

    LEAST FAVORITE: PARIS

    You can purchase this album on Bandcamp and their discography is also available for streaming.

    https://feeblelittlehorse.bandcamp.com/album/bitknot

  • Why You Should Spin: An Undying Love for a Burning World by Neurosis

    Why You Should Spin: An Undying Love for a Burning World by Neurosis

    I found this sludge metal album and band through some buzz going around online and on platforms like Rate Your Music putting this at #1 (was #1, now #2 as it was usurped by another music group, more to come hohoho). That site has its problems that I might delve into later, but this album did not disappoint. It’s as desolate and crushing as it wants to and it’s something I can ever want in a sludge metal project. This band from Oakland, California has been around since the 80s and went into a five year hiatus at some point with the cause being that Scott Kelly, one of the founders and lead vocalist admits to abusing his family. So, I think I got on the right time for the hype train, because fuck that guy. I would not have praised and write about this album if this guy was still on. But the band came together again and on this year of 2026 they pick up a new member and ambushes us with An Undying Love for a Burning World that fans were raving and craving for years. It was wholesome hearing their newest member being utterly grateful and was shocked to have been asked as he was influenced from this band for a long time according to their Bandcamp Daily feature. According to the band, the album goes into the disconnect of humanity from nature and yourself. So, with everything that is going in the world, it does feel humanity has been losing its feeble grip on how we should treat ourselves and the world. So, Burning World just seems like a good way to vent and shed off that weight that is despair on how things are going. What do I think of this album though? It has done its job in spades and I am so invested in them. I picked a good time to be a fan. If I’m in my pessimistic, broody mood then this one hour behemoth of an album is my weapon of choice. It has memorable guitar riffs, haunting electronics, and Aaron Turner and Steve Von Till were able to make their voices just sound so painful, ethereal, and most of all, angry. Anger is essential when we’re dealing in this genre. I’m not angry with this release, however.

    After raw, harrowing cries of “We are torn wide open!” It gets into the nitty gritty with “Mirror Deep”. We get repeating thrashing guitars, clashing vocals, and even these John Carpenter like synths among this song. The guitars in the middle sound like an alarm going off that is just piercing. This opening song tells us, everything is dying. The nihilism may be dismissed as a crazed belief, but can you fault them for thinking that with everything you see around us? “First Red Rays” starts off with these headbanging Black Sabbath like riffs that are backed by shimmering ambient electronics. Feels like the desolation has reached space and is engulfing the Earth. It’s at this point, I was so grateful for finding this album. The growling vocals tells us of the sky painting a dark canvas that is there is no hope for Earth and the creatures that inhabit it. The slower segments are like a space opera of sorts. I absolutely love love the vocals at the end of this song too. “Blind” sounds like an attempt to contact ghosts at the beginning, and then we get these dragging guitar riffs and vocals that drag along it. It’s like I’m trying to get pulled out of tar, but to no avail. Even though it’s a slower 9 minute number, I did not feel any enjoyment was lost. It was epic from start to finish. The rewinding instrumental at the end was trippy as hell too.

    “Seething and Scattered” picks up the pieces and the pace of what it left off from “Blind”. The guitars are as energetic as they are spellbinding. It then it goes into this synthwave, Stranger Things type beat before it crashes into its big climax. “Untethered” is brief, but sounds like the most rock alternative out of all the tracks, which was all right. “In the Waiting Hours” was a patient listen and it was dynamic from its slow start. During the big guitar drop, the guitars almost sound psychedelic in a way. There seems to be no hope for anyone who treads here according to their scriptures, as they say “Cuts light from our path.” And if you think that was insanity, we close out on a 17 minute behemoth of a closer. I got to say, for a long track like this, I was rolling my eyes at first for how much of a slog it might be since that’s how I engage all long tracks, but I underestimated on how engaged I was with every instrumental segment and riff becoming memorable. “Last Light” at the beginning has these raw vocals in the background of these lurking synths. Then it keeps growing and growing as our character has an epiphany that they’ve taken everything for granted and that it’s now too late as things get dire. The instrumental almost becomes a little sobering and inspirational for a bit with its rock flair. But wow, there’s like a ghostly and horrific effect they did that makes it sound like screams of either people or beasts just haunting your ears as the lyrics then chant that “Time is heavy upon our skin”. A great line. It then sounds like a death march that sounds so oddly danceable to me. Getting overstimulated by everything else this death march is like a fugue state to me at this point. But Neurosis closes out saying our time is done and the elements are in charge now with one more metal riff and growling vocals. Of course there are no happy endings in this apocalypse, but when it comes to Man vs. Nature, nature always comes out on top.

    The album has few lows. “In the Waiting Hours” although was very interesting, I kind of got a little lost in the sauce with its length and found it to be ok with its yield. “Untethered” was probably the least interesting when it came to instrumentals and vocals if you compare it to how grueling the other tracks were.

    So, what can one get out of this album? I guess you can say you take the time of living less for granted? I never got a sense of one should NOT stop loving this burning world. The harrowing listen of the LP makes it seem like everyone’s time is coming. Telling people they have to connect with themselves more is a message that will fall on death ears as they treat the calls like that guy in the cardboard sign in movies, saying “The end is nigh!” It is a nihilistic album, but for some reason it made me even more stalwart on trying to live. Maybe it’s the sick ass riffs, or maybe it’s the sub tone message that we shouldn’t take this lying down. It’s a tall order. So, I can’t guarantee one may feel better after one listen. Maybe another listen might do.

    FAVORITE TRACKS: MIRROR DEEP, FIRST RED RAYS, BLIND, SEETHING AND SCATTERED, LAST LIGHT

    LEAST FAVORITE: UNTETHERED

    You can purchase this album on Bandcamp and their discography is also available for streaming.

    https://neurosis.bandcamp.com/album/an-undying-love-for-a-burning-world

  • Why You Should Spin: Fables by Isabel Pine

    Why You Should Spin: Fables by Isabel Pine

    Imagine just being at your wits end and your limit threshold. What if I told you there’s a place where you can have a moment of tranquility and peace? Somewhere to dissociate from out there where all the noise and weirdos are and associate with something that is calm and meditative. If you look up a thesaurus of all the positive attributes I’ve been listing, you can apply it to Fables by Isabel Pine. No, not Fable the video game franchise from yesteryears where Peter Molyneaux promises trees and dogs that grow with you and go to college. I’m talking about a musical artist Isabel Pines from British Columbia making her debut album. I remember scrounging for anything that will keep my nerves at bay as stress is the enemy of mankind. I was then fortunate to find this album, seeing the word “ambient” staring at my face, so I immediately swallowed this pill with a warm cup of hot cocoa. The album is such a warm embrace. This album is also not false advertising with its cover art, as it states you can sit down or walk about and just be at peace, meaning Fables works like a charm with nature being a very appropriate theme. I’ve never heard of Pine before, but apparently she had performed with an orchestra and was well versed in the viola according to Foxy Digitals. She found out herself that playing someone’s music is not as self gratifying as composing your own, so she did the brave thing and did a leap of faith going solo. She rewards us with Fables as it keeps the listener grounded in all of these simple, yet poignant compositions. As there are many elongated string chords that play for its ambient soundscape. It’s quite cinematic for it being a very quiet experience. The chords and the rests are well thought out not to disrupt the flow and the theme. The instrumentals range from string instruments all performed by Pine herself and some electronics occasionally. So, it’s all instrumental here with no vocals and influenced by her classical background. But that’s the calm with no storm as these tracks are like vignettes of solace as they don’t run too too long. So, let’s go! I’m happy to walk you through with my snow shoes on.

    Just going into the highlights, “Wolves” gives us what you would expect from Fables, as it has these gentle string chords just lightly play off each other as either the melody or as ambience. The violin passage sounds like a marvel. During my first listen, I just wanted something chill when I was crate digging for ambient records, but what I got here is a gem of something that can put you at peace. “Winnow” is very mellow as well as dramatic as it tapers off into the end. “Never Been Here Before” sounds somber as the violin sounds like a cry as these minor chords do give us that mood. “Wandering” is probably my favorite out of this experience. It sounds like a celebration of salad days as you can play this during a slideshow of someone’s life or a dramatic movie. It has evoked the most emotions out of me. I beseech you to give this a listen if there’s one track you’re curious to try out. Even though, “West” is short, it made me visualize someone braving the snowstorm as our weary traveler goes against the frostbitten winds with how to grows. Press on, ole chap!

    “Snow” is our first piece played exclusively with keys with these organs/synths just singing in these chapel halls with its heavenly reverb. It gives us a religious atmosphere and you feel nothing, but safety and sanctuary within. Such a magnificent listen. “Sun Dog” has strings and electronics working in tandem to emulate us being alone with our thoughts. We have “Perennial” that sounds like a earnest and heartfelt goodbye. Then the actual goodbye on this cosmic closer that is “Butterfly Lands on a Flower”, which is done with synths that sounds like it could be from Aphex Twin’s ambient pieces and sounds similar to “I”. It sounds so chill and is like one with the Earth.

    If quiet classical ambient records are not your thing, I don’t recommend this to you. The record gets the job done, but it is a one note kind of package. There are some tracks here that I find forgettable or too wallpaper coded.

    If one is looking for a moment of peace, then Fables is for you. I do love my bangers and jams, but I’m thankful slower albums like these exist. This collection of zen pieces can be used for any task that is good for contemplating in the background. It can be used for reading, hiking, or just sitting there. Heck, you can do anything you want if you just want an embrace of beautiful sounds. If Isabel Pine was aiming for melding one with nature with this sound, then I think it’s fair to say she has succeeded. The album doesn’t showboat or get complex. It doesn’t need to. She apparently recorded this album in (and outside!) a cabin, which sounds on brand for her. You can tell this person is one with nature as she knows how to make sounds emulate flowing wind that can move mountains. To end things here and tell you a lot about this album as a whole, here in the Foxy Digitals interview from earlier, she stated how she implemented the natural reverb while recording this album:

    “I like to play a little ways away from the stereo recorder that I use, so that the sounds become more a part of the environment. I really like this idea of being a part of the environment rather than being separate from it.”

    Pine, Isabel, Interview. Conducted by Brad Rose of Foxy Digitals.

    FAVORITE TRACKS: WOLVES, WINNOW, NEVER BEEN HERE BEFORE, WANDERING, WEST, SNOW, SUN DOG, PERENNIAL, BUTTERFLY LANDS ON A FLOWER

    LEAST FAVORITE: HOLLOW

    You can purchase this album on Bandcamp and her discography is also available for streaming.

    https://isabelpine.bandcamp.com/album/fables