With the recent remaster of this album being put onto streaming services earlier this month, I thought it would finally be a good time to listen to this album.
The first thing I noticed was that this album is LOUD. Each track features a thick, grooving bassline that anchors the song to one repeating melody while the guitar wails and screeches out a wall of noise that the word 'cacophony' barely begins to describe. The vocals, while in Japanese, are completely incomprehensible and are more akin to screeching than actual words.
If any of this sounds appealing to you, I would highly recommend you give this album a listen!
The highly anticipated fifth studio album by Natalie Mering, AKA Weyes Blood, was released just a few weeks ago on November 18, 2022, and I have had it on repeat since then. The album features luscious baroque pop arrangements that are very reminiscent of Joni Mitchell's output in the 1970s.
While this album doesn't quite reach the same consistent highs as her previous album, 2019's 'Titanic Rising,' this album is still one of the best I've heard this year, and the beauty conveyed in these ten tracks is still staggering to hear.
I think that everyone should give this album a try to see if her style clicks, because it certainly has for me.
The sophomore release of Sobs, a pop band from Singapore. This album showed up on my radar shortly after it was released and I was hooked from the very first track.
This album is a ton of fun. It carries a strong youthful energy, like you're out with friends on the weekend in college. Great pop music that incorporates a lot of different elements such as the ending of the track "Friday Night" which turns into a breakbeat electronic track that would fit right in on an Anamanaguchi record. The record is a pretty brief listen as well, clocking in at just over half an hour.
I'd say that this is an album you shouldn't miss this year, and I'm looking forward to what they do next!