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waywardsalt · 7 months

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Hey, thanks for the response on the post where I asked about what people dislike ab totk! I genuinely appreciate it a lot, and you summarized most of my thoughts about this beautifully!

Here's something you might find interesting: something about this game's pacing REALLY bothered me from the start, and I think I know what it is. Totk, despite being an open world game that you can pour a ton of time into, feels short. It's a really weird feeling, and I think it can be explained in that Nintendo is trying to use the linear storytelling format for a nonlinear game, which is also why the ability to see the tears in a random order was disorienting, and why the stories from the ancient sages felt so repetitive.

The gameplay is long, but the story isn't! If you compare it to Skyward Sword, for example! In sksw, you go through each of the areas once, and then again with some changes, and then again with more. There's several clear acts, and even if the game is super super linear and recieves criticism for that, it works really well in that context. Additionally, the characters more than make up for the linearity of the story. Totk tries to take that same format, but doesn't seem to understand that this format is for a linear story. It only has a very brief story, and the story to gameplay ratio is so dragged out that unless you get invested in the world, it all starts to feel really stupid and pointless. Unfortunately, totk fails at getting us invested, too.

I really hope this made ANY sense at all, ty again for the input!! I love the responses I'm getting on that post djbdjsndns :D

Hi, you're welcome for my uh... totk rant, I guess? I covered a lot of stuff in it but I wouldn't say I covered everything bc there is... a lot abt that game that rubs me the wrong way in one way or another.

totk is definitely an odd case, it being an open world game that does try to adhere to linear game rules, you’re right- and i’d say the story is severely kneecapped by that attempt on the game’s part to have its cake and eat it too. it tries to mix what botw brought to the table with what was done in the past, but because botw is vastly different in what it does than past zelda games, the result is a messily paced, poorly-told, gameplay-focused with piss-easy mandatory puzzle segments result, failing to capture the advantages of linear games and instead making those specific parts considerably weaker.

people give linear games shit for… honestly, im not totally sure, as someone who really enjoys linear games. they allow for a good focus on story and character, mostly because you can have a set pace and passing of time and order of events. totk tries to implement linear style elements into a game where you can do anything out of order, so in the end the story is surprisingly brief but slow paced because you have to travel so far for everything and they have to account for you doing everything in any order, hence... repeating the same fucking information as a reward for four of the dungeons (which, i don't care how you feel about this game, is an awful fucking choice i mean holy SHIT), and is probably why the interactions with the new sages include very brief character arcs or something, they wanted to include some kind of linear character stories but it all just got stuffed in between a bunch of mini-main quests.

the fact that effectively half of the main story happens ages in the past and is communicated through brief cutscenes that can easily be encountered out of order, too, is kind of a pitiful way to tell the story. they're all basically glorified exposition dumps since nothing about them will change, they're all events that have already happened and have nothing to do with the player except hyping them up i guess.

the dungeons themselves are awkwardly transposed from a more linear game style with them relying on a specific skill to some degree, but they just fall so flat compared to past linear zelda dungeons. in botw the divine beasts honestly worked because the mechanic of manipulating the beasts themselves and the activating of switches fit perfectly with the setup of the dungeons being huge machines, while there isn't as good of a story example as to why totk's dungeons have the same switch mechanic. botw's divine beasts work pretty well in an open world setting. totk's just fall to pieces in an open with setting, even discounting how ascend could just snap them in half entirely. you just... can't have the same kind of dungeons as past zelda games in an open world format. once you take out the array of specific-use progressively-earned items, you're just left with this tiny little gmod ass toolbox to do what felt like baby's first loz-style dungeon. go to the clearly marked waypoint, do one (1) simple puzzle, get reward.

i miss mini bosses, rooms with puzzles that had to be solved to unlock a door or a doorkey, and even the experience of wandering around just trying to figure out what to do next. honestly, the first half of the lightning temple was the best part of all of the dungeons put together, and then we're back to 'go to four different rooms to do four different easy puzzles'. linear games have genuine advantages over open world games, and open world games have their own advantages. in the story segments, totk just ignores the advantages inherent to it's game's basic style in favor of trying and failing to emulate the advantages of a very different game style.

totk is so paradoxically unable to tear itself away from the series' past while at the same time disregarding series staples and even big parts of its own goddamn prequel.

in my experience with the game, as far as i can remember, i believe i went around and opened all of the towers, did some shrines and the depths, got the master sword, did the main quests with some side quests, then sped through getting all of the memories in order, then did the final boss. in between all of that, i managed to get all of the armor, do every single shrine, and open the entirety of the depths. i did not give a single damn about the story by the end. for me, with my playstyle, everything was just... spread out over such a long period of time so there was barely any urgency at all, i experienced the memories all in quick succession while already knowing the big twist (which. btw. i didnt care about. i wasnt really endeared to zelda and link's lack of visual interest during cutscenes just brought up the question of if he doesnt care why should i), and since this game's story is more linear, it just felt so disjointed and strange and... not important.

with botw it makes pretty good sense why link may take ages, why you could get the memories however you want, all of that. zelda is keeping things with ganon on pause for you. all of the big stuff happened in the past. you are here in the present, in the ruins of the past, a blank slate come to eventually complete the mission that you had failed, at the same time discovering this new world and becoming re-acquainted to it with this strange second chance you've been given. totk doesn't have this excuse. at least in past zelda games, you did things in a specific order, so when you wanted to fuck around, it was usually something related to or based on your progress. if you want to fuck around in oot what you can do is based on where you are in the game and even then it all ends up wrapping back around to bolstering link for the end. getting hearts, better items... like every side quest in every other loz game did. in totk you can do a sidequest for like. one flower. and what does that even do for you. it doesn't have the excuse of the honestly pretty well crafted setup and world state of botw.

i really don't know what happened during the development of totk, and i can't imagine it was the smoothest thing in the world, esp considering the pandemic hitting in the middle of it. but just... it just feels like it failed in so many regards and was just... so disappointing, and yet people are heralding it as the best zelda game and- this is not what i want a zelda game to be! i want a zelda game to have those wonderful puzzle-filled dungeons with well-written main characters and music that fits the setting and feels supported by the game's events and a unique setting with unique little nooks and crannies and good pacing and act structure and like. some kind of heart to it. not just another big open-world game created to be the big open world game where you can do this one amazing specific cool thing that TOTALLY is worth the $70 or whatever else it may be priced around the world.

idk. to me what makes zelda games zelda games is the linear storytelling and those complex dungeons and specific method of progression, and botw's new open-world emulation of the sense that loz 1 gave does not and probably will not ever be able to mix with that linear style unless you have massive in game game style shifts to allow for it. either return to the old format or just commit to the series becoming Triple A Open World Game Series Number 34

#asks #salty talks #bitching abt totk #wind-awoken #ty for the ask i love tearing into this game bc its at least helped me understand some stuff abt game design and what kinds of games i like #and why. too bad this game is rancid imo #dude i fucking love skyward sword. the linearity lends itself to a sense of progression and time passing and just. ugh. its so good #totk critical #totk neg #totk salt #covering my bases :)#i just. yeah gamedev is hard but if this is the mess we got after 6 YEARS what the fuck happened??? what was scrapped????#they had SIX FUCKING YEARS and having the ancient sages regurgitate the same info 4 times made it to the final release #what in the fuck happened in there #i dont really like the idea of there being a permanent move to open world bc its clearly just following the crowd on this one #its just such a massive departure from all other loz games (including loz 1 tbh) that that has to be part of it i feel. it makes sense #botw + totk dont feel unique like the other loz games do. they just. feel really similar to shit like elden ring and fenyx bc like.#thats just how open world action adventure games are ig. ironically theres not a ton of wiggle room with the open world formula #cant really get away from what makes them all feel interchangeable bc its so core to what an open world game is #best you can do is add some standout aspect like the general. Being A Souls Game in elden ring #totk adding dumbass glue doesnt even feel unique bc like. its just what every other sandbox game lets you do with some added jank #progression feels meaningless when it has no impact on what you can do in the game and thats the only kinda progression in totk #get more health make armor numbers bigger make better food fuse better weapons. you cant even upgrade the abilities this time #yeah botw has similar pitfalls but it at least owns being an open world game. it utilized and embraced the format #idk. totk before release was increasingly overwhelming to me and post release it was just such a massive letdown #i remember trying in earnest to pull a wagon using a horse and just. having the worst time. ultrahand sucks unless you make death machines #or one of like five specific traversal things

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wonderfulworldofmichaelford · 4 years

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Is It Really THAT Bad?

The DC films have been a mixed bag, to put it lightly. As of 2020, for every fun and enjoyable superhero film like Wonder Woman, Shazam, Aquaman, and Birds of Prey, there has been a film that was reviled or polarizing. Dawn of Justice and Justice League are both common punching bags, but there is one movie that stands out as the single most despised film in the DC cinematic universe so far:

Suicide Squad.

A lot of this comes from just how unashamedly blatant the film is at being a rushed cash in on the type of quirky superhero movie that Guardians of the Galaxy helped popularize: a bunch of wild and wacky antiheroes team up, fight a big problem, make one liners, and become a family, all while an awesome soundtrack blares in the background. It seems like the easiest thing in the world to rip off, but there’s a lot of heart and charm in Guardians that it’s not easy to replicate. And if you ask most critics… this movie did not.

Opinions on the film tend to range from lukewarm to outright hating, with IHE and the [REDACTED] Critic all throwing in their two cents. Perhaps the most damning review of all came from Mick LaSalle, who wrote:

“If you know someone you really can’t stand — not someone you dislike, not someone who rubs you the wrong way, but someone you really loathe and detest — send that person a ticket for “Suicide Squad.” It’s the kind of torment you can wish on your worst enemy without feeling too guilty: not something to inflict permanent damage, just two hours of soul-sickening confusion and sensory torment.”

There’s not much love for this, is what should be abundantly clear. And it’s really a shame, because there is stuff this film has going for it, but it wasn’t really enough to stop DC from basically hitting the soft reboot button and snagging the actual James Gunn to make a sequel while also doing their best to downplay that the events of this film actually happened. But now with a few years of hindsight, I have to go back and wonder like the heathen I am…

Is Suicide Squad REALLY that bad?

THE GOOD

Yes, amazingly, there is some good stuff here, mostly to do with the casting. At least half the cast is just pitch perfect for their roles. Famous rapper and YouTube Rewind star Will Smith as Deadshot is, of course, one of the standout examples; he brings a lot of charm and charisma to his role of an assassin who really loves his daughter, but then again, this is Will Smith. It’s hard not to love the guy in anything he does. Viola Davis as Amanda Waller is another inspired bit of casting, and she truly owns the role, and Jai Courtney is perhaps the most consistently enjoyable member of the Squad, Captain Boomerang, the exact sort of stupid D-list villain who SHOULD be getting screentime in a movie like this.

Of course, the very best bit of casting is Margot Robbie as Harley Quinn, in Harley’s big screen debut. Robbie has such an enthusiasm for the role that shines through even with the clunky script, and while she would definitely improve her craft for her outing in Birds of Prey, her performance here still has that spark of zany fun that Harley needs, cementing Robbie as the perfect star for the role. Frankly, that’s the feeling that can be gathered from a lot of these really good performances; they’re good, but they lack proper refinement, and so are stuck spouting the stupidest, corniest, clunkiest lines imaginable. But yes, really the worst thing you can say about Harley in this film is that her outfit is absolutely atrocious and demeaning.

While we’re on the subject of Harley Quinn, tough… while the whole situation with the Joker is something I’ll get to shortly, I think their relationship in this film is actually done well in many aspects. I’ve always preferred the original idea of “Mad Love” over the glorified domestic abuse that Joker x Harley has often devolved into, and while there is a bit of the latter, the fact that Joker literally goes out of his way to save Harley at every opportunity to the point he’s a definition satellite love interest is really good. Of course, this was thrown out for Birds of Prey, but I do think it worked in the context of this film.

Of course, we all know that the greatest aspect of this film is REALLY Slipknot, the single most powerful member of the Squad. I’ve already written an entire Psycho Analysis on why he’s the greatest villain in the history of cinema, so just read that for the rundown on how our man Slipknot climbs his way into your heart and mind.

THE BAD

So there is just a lot to go over here.

First, there’s the soundtrack’s implementation. As a blatant Guardians ripoff, everything the characters do needs to be punctuated by some sort of awesome music to tie the scene together. The difference is that where in the Guardian movies the soundtrack is used as a storytelling tool to help subtly emphasize points that the narrative doesn’t want to spell out for you, Suicide Squad just has these songs because they’re cool and because Guardians did it. Why is “Black Skinhead” playing while Deadshot tests his weapon skills? Why is “House of the Rising Sun” playing during Waller talking about the Squad? What exactly do these songs add besides background music? The opening montage of everyone in the Squad is particularly bad because the songs are just switching up really quickly as the montage goes along, which echoes a complaint I had about Little Nicky, of all films: “One of the more noticeable problems is the usage of music; in the course of one single scene, they play four different songs, and all of this is in a span of about one or two minutes. Just pick a song and stick to it for fuck’s sake!” About the only song that is really properly utilized is “Heathens,” which plays over the (admittedly cool) credit sequence.

Now let’s get into the characters, because for every awesome character in this film, there’s two that just absolutely suck or are so underutilized it’s laughable. Probably the worst case of this is Killer Croc, who despite being a stunning practical effect and probably the reason this film scored an Oscar, does pretty much nothing for the entire film, save for a short bit in the ending where he swims. You’d be entirely forgiven for forgetting he’s in the film, which is not something you should be saying about a Batman villain of this caliber.

Katana and Diablo are both characters who should be awesome, but the story givers them nothing to do and rushes their character arcs, respectively. Katana is yet another character you’d probably forget is there, even though she has a lot of fascinating elements to her character (some of which are detailed in her infamous introduction, which don’t worry, I’m working towards it), but nothing is really done with her. Diablo is actually one of the best and most fleshed-out characters in the film, but the narrative just completely fails to justify him or his ultimate heroic sacrifice; by the end, he claims the Squad is like family, but they’ve never really done anything to earn this. Like, think to the ending of Guardians of the Galaxy, where we have moments like Drax standing up for Gamora and Groot sacrificing himself. These moments only work because the characters had their relationships built up over the course of the movie so that there is a punch when these things happen. Suicide Squad really just throws it in just to have it.

Then we come to our villain. Enchantress is yet another villain I once detailed on Psycho Analysis, and my opinion on her remains unchanged. While she most certainly has a cool design, she is absolutely not the sort of world-ending supernatural threat a team of snarky jackasses should be fighting on their first mission together. The Squad should have had a mission more grounded in reality, and that can’t happen when you have an ancient interdimensional witch causing a Luddite zombie apocalypse through the power of interpretive dance. There’s also the fact that there’s never really any reason given to care about the character of June Moon, the host of the Enchantress, so the desperation of Rick Flag (a character so boring and pointless I didn’t even waste time mentioning him before) to save her comes off as hollow as most of the movie’s other emotional moments. Overall, Enchantress is just a boring generic doomsday villain who feels wildly out of place in the story and just doesn’t do anything to make herself stand out.

Then we have Joker.

I’m not really going to get into Jared Leto’s obnoxious behind-the-scenes antics, because that has little bearing on his performance, kind of like how his performance has little bearing on the film. As I mentioned before, this Joker is nothing more than a satellite for Harley. This is probably a good thing, because despite being called Joker he’s pretty divorced from most other interpretations; while he plays up the thuggish, brutish elements the Joker does typically have, everything else about him is just so jarringly non-Joker as to be laughable, from his ridiculous grill to the absolutely cringeworthy “Damaged” tattoo on his forehead. I wouldn’t go quite so far as to say he’s the worst villain in a superhero movie ever as some have, mostly because he’s not even in the film long enough to leave much of an impact. I will, however, say that so far he is the absolute worst onscreen depiction of Joker in film. Once again, if you’d like to hear more of my in-depth thoughts on Leto’s portrayal, I did make a Psycho Analysis on him a while back.

But all that aside, the worst aspect of this film is the writing. The writing is just utterly abysmal throughout, and while there are a few good lines sprinkled here and there, a lot of the dialogue is cringeworthy and the story itself is a convoluted mess. The story takes so many nonsensical turns from the get-go, starting with how Amanda Waller thinks a bunch of non-superpowered criminals could take down a metahuman threat; what the hell is Killer Croc, whose only power is “being an ugly cannibal,” going to do against Superman? That’s like if you put Leatherface up against a Predator, who would be stupid en-

...Oh. Right. Well, if nothing else, Amanda Waller has a very bright future as a designer for Mortal Kombat games. Beyond that, as mentioned above, a lot of the characters simply exist and serve little purpose in the narrative, and the ones that do serve a purpose are underplayed unless they’re Deadshot or Harley. You’d think Diablo’s tragic backstory and desire to have a family or Flag’s desire to save June from her curse would be more major elements, but nah. We don’t get much, if any, development on these fronts. And for the dialogue… well, I think this one speaks for itself:

youtube

Is It Really THAT Bad?

So I’ve been pretty hard on this film overall, I think, but here’s the shocking twist: I don’t think this is the worst DC movie. Frankly, I find the claims that this is the bottom of the barrel in terms of superhero films a gross overexaggeration. F4ntastic and The Amazing Spider-Man 2 are far and away worse films with little to no redeeming qualities whatsoever in them. At the very least, Suicide Squad is a fun kind of stupid, whereas those movies are bleak, miserable slogs that fail to even try and engage the viewer on any level.

And then, even within the DC movie lineup, I would not say this is worse than Dawn of Justice. Dawn of Justice has a more coherent story, and it in a general sense has better writing, dialogue, and so on… but it isn’t fun, it’s overly long, it’s incredibly pretentious, and it absolutely squanders the coolest concept for a crossover fight that there ever could be, all while giving us a Lex Luthor who is an obnoxious, whiny, sniveling brat who is utterly unbelievable as a threat. Suicide Squad almost seems within the ballpark of being self aware that it’s stupid schlock, and I find that infinitely more respectable than a film that, regardless of its artistic merit, thinks it’s deep and meaningful when it is anything but.

Suicide Squad is firmly on the side of “So bad it’s good,” and even within that category it’s somewhat underrated. I don’t necessarily think this film needs more respect per se, but I feel like it falls into the same category as movies like The Emoji Movie, where it isn’t good by any means but people will rant and rave about how it’s destroying cinema by being apocaliptically bad instead of just saying it’s crappy and moving on with their lives. Like this isn’t a great movie, but at least there’s a couple of enjoyable things, and superhero movies have been through far worse. Its current score of 6 on IMDB is honestly pretty fair. Is it spectacular? No. Could you be watching something way better. Definitely. But is it a trashy, idiotic romp with some good actors and some fun performances in a story so mind-bogglingly dumb that it needs to be seen to be believed? Hell yes.

#Is it really that bad?#IIRTB #movie #movie review #Suicide Squad #DC #DCEU #DC movie #superhero movie #so bad it's good

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idontneednofuckinhug · 4 years

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My 25 favourite albums of the 2010′s

When it came down to making a list of my favourite projects through the 2010's, it really became clear to me how difficult of a task this was - I've listened to hundreds and hundreds of albums, EP's and Mixtapes during this time frame with artists from different genres, during different times of my life, where I needed different types of music to soothe my soul. When I started writing down the albums I want to put in my decade list, the first thing I set as a rule to myself was that I'd have only one album per artist, just to avoid repetitiveness and so I can actually think about which artists really did leave a mark on me during this time frame and not just have a list of 10 artists with my favourite 2-3 albums from each. Even then, I originally had more than 35 albums written down as standouts for me during this time and I wanted to originally make a top 20 - I quickly realized that wouldn't be possible, but a top 35 or top 30 would be way too big, so I decided to settle on a top 25 and even then I realized I'd leave out some generational artists like Gambino, JID, 6LACK and more. After that I just decided I wouldn't rank them, it would just be 25 albums that were my favourite during the decade - no rankings, because really, how can I compare a hip-hop album to an Indie album for instance? I couldn't. I hope this list raises a discussion and we can talk about your favourite albums during this period as well or you can tell me I'm braindead for leaving out someone from the list. So in no particular order, I'll list the albums and leave some thoughts on each:

A$AP Rocky - AT.LONG.LAST.A$AP (2015) Althogh this album was released in 2015, it took me till about two years later to really appreciate it as a project - it was my coming of age album, where I realized that I need to love myself and focus on my own well-being, to have that self-confidence that reflects the reality of who you are as a person and that attracts others to be interested in what's going on with you. The album was and still is very relevant to the environment I didn't want to be in and to push myself to achieve what I've been dreaming of, as well as reflect on the existential topics I've always raised within myself regarding love, violence and pain.

Car Seat Headrest - Twin Fantasy (2018) I was a bit late to the party with this one, as I only started listening to it in 2019, a year after its release, but I have to admit, Twin Fantasy really reflects all of the impulsive emotions I have within myself regarding loneliness, being insecure and counting on the people you love so that you help each other out, outgrowing your childish opinions and understanding of relationships and realizing your partner struggles just as much as you do. This might be my favourite indie-rock project right now.

Chance the Rapper - Acid Rap (2013) This album was a big part of me during my teenage years - I remember it reflecting the issues I was facing when I was 16-18 and it really made me vibe with it, due to the appreciation I had for my friends and my free time during that time, at the same time addressing the inner feelings of whether you're doing the right thing with your life. Listening to it now, years later gives me an alternative view of it as well, as an adult who looks with nostalgia at his younger self and realizes how much emotions I've missed from this project.

Freddie Gibbs & Madlib - Pinata (2014) Arguably the album with the best production of all time - the free-flowing jazzy and soulful beats from Madlib, underlined with Gibbs's absurd flow, the story-telling of him having to sell drugs and rob people to make a living, the absurd amount of genius features and the disgusting verses Gibbs had on songs like Harold's, Real and Robes just puts this project in a bracket of its own - I was wondering whether I prefer Pinata or Bandana, but as Bandana is a very fresh project still, this one has aged like a fine wine for me.

Frank Ocean - channel ORANGE (2012) Oddly enough, I'm one of those people who doesn't like Blonde as much as channel ORANGE. This album really hit home when it came down to my break-ups and realization I'd have to start all over again, both with myself and with someone else in the future - it really made me miss some people in my life time and time again and has brought me to tears more than you'd think. Frank's commentary on the album on different aspects of love and society really puts you in a frame of mind where you'll relate to almost everything he's experienced.

Schoolboy Q - Oxymoron (2014) This was the best story-telling album of the decade for me. The production which had a very modern take on old-school Gangsta rap really sticks to you with every song, the themes which Q explores with growing up in his ghetto neighbourhood, being part of the Crips, selling drugs and being part of gang-related crime really hits hard, combined with the realization he wants something better from life after growing up in poverty. Looking at Q grow up as a person after the release of this album and achieving all of his dreams really adds to this project as a modern day classic.

Flying Lotus - You're Dead (2014) Honestly, this one isn't for everyone - when making this list FlyLo had completely slipped my mind, even though I absolutely destroyed Flamagra with replays this year and had destroyed You're Dead in 2018 and 2017 due to the amazing production and vibe the album had. This project has an absolutely one of a kind take on combining modern jazz with psychedelic beats and hip-hop features, showcasing exactly why Flying Lotus is one of the best producers of modern times.

Danny Brown - Atrocity Excibition (2016) The culmination of Danny Brown's career for me, Danny addresses what it's like to completely hit rock bottom in this project, being a crackhead, who'd party, have sex with groupies and strangers and have no control over his life - there's a very neurotic and dark production on this album, combined with Danny's hilarious, but unsettling one-liners and verses which really could have been interpreted as a cry for helf, especially on songs such as "Ain't it Funny".`

Anderson. Paak - Malibu (2016) I recently wrote about Paak in a blogpost, discussing how he brought soul music back into the mainstream through a fantastic combination of rapping and singing with soul-inspired production and keeping a very funky vibe alive. This album was his best work for me and really showcased how much he's loving life, living to his best and enjoying every day of it, whilst at the same time addressing how difficult, but worth it love can be.

Mac Miller - Watching Movies With The Sound Off (2012) Mac was one of the first artists I wrote about, as I basically grew up with him, although he was a bit older than me (he's 92 and I'm 97). Every album of his was a part of my life and something I could relate to and live through, sometimes a bit later than its release, but no album has had such an eternal feel to it as Watching Movies. Both at 19 and at 22, I could find life lessons in this album and songs that could really describe what I'm going through, both on the end where my ego is taking over and I don't feel in control (Red Dot Music), to the downpoints of my life and addictions (Objects in the Mirror).

Earl Sweatshirt - I Don't Like Shit, I Don't Go Outside (2015) I love Earl. Realistically, I couldn't keep him out of this list, although none of his albums really are crazy standouts, as he has an extremely consistent body of work, but I decided to settle with this one. With its melancholic production, dark and slow beats and topics of depression, suicide and self-isolation, this album has been one of my main therapists every time life has absolutely killed me and had kept me afloat, thanks to having someone to relate to in those difficult, dark edgy times.

Denzel Curry - TA13OO (2018) Probably one of most inovative albums in the end of the 2010's, Denzel split the album up into three parts, all reflecting the emotions he felt during the proccess of creating it: Light, embracing his success and feelings of positivity; Grey, being introspective about his life and looking at the people trying to use him and hate him objectively; Dark, channeling all his anger and darkest emotions.

Vince Staples - Summertime '06 (2015) Vince really is one of the most complex artists of modern times for me personally, as his music is always very difficult to gauge and he always strives for innovation, rather than mainstream appeal. Summertime in reality is probably his most mainstream album, being an excellent storytelling project of his origins from Long Beach, California, the gang culture and harsh reality around him, his friends being shot down or turning into coke fiends and the way his environment has shaped him as a person of distrust and scepticism.

Sons of Kemet - Your Queen's a Reptile (2018) I really wanted to have a jazz project in this list and I was torn between this one, Everything's Beatiful and Drunk, but I always go back to this one the most. The avant-garde jazz-funk sound of this album, combined with traditionally african melodies and beats and progression each song goes through really makes this a multi-layered album which you will need to listen to again and again, as it also had a very political message in itself.

Kendrick Lamar - To Pimp a Butterfly (2015) If anyone asks me what's the greatest pure hip-hop album of all time, I always answer and have answered "To Pimp a Butterfly". This album was and in my opinion still is very much before its time - the jazz-rap production, social and political messages and discussion, the absurd beats and flows, the rhyme-schemes, everything about this album absolutely shines and whatever I say, will not do it justice, you need to listen to this start to back.

Jpegmafia - Veteran (2018) Being one of the most experimental and non-fuck giving rappers in the game right now, this album was really a step in the right direction for hip-hop, as it had production that you'd probably hear nowhere else, DYI samples, political comments and messages in a very unfiltered manner, showcasing Peggy's no-fucks-given attitude to everything in music, something he has continued to prove to this day.

Tame Impala - Currents (2015) I originally listened to this project for the first time in late 2016, but I really wasn't too much into Indie back then, so I gave it little thought. 3 years later, after listening to it again I realized what a genius piece of art Kevin Parker had created with its topics of self-discovery, introspection on life and it's psychedelic indie-rock production, really creating something that no one else had heard before.

Joey Bada$$ - 1999 (2012) What really makes me not believe this project exists is that Joey released it when he was 17. Having some of the best old-school inspired production and beats, with a jazzy, soulful sound, this album showcases a very young man challenge the political climate of its time, as well as have very matures takes and opinions on gang-culture, smoking weed and needing to grow up, realizing he can't live a life of parties and drugs if he wants to leave something that's worth it in the world.

Kanye West and Kid Cudi - Kids See Ghosts (2018) I was really wondering if I should put this album in my list, as I'm not the biggest Kanye fan and I haven't really liked much of Cudi's work past 2010, but in the end, this album is one of a kind. It tells the tale of two people struggling with their mental illnesses, but in the end conquering them, loving themselves and realizing that they have so much to give in life. The album shares a very heavy inspiration from Tame Impala's production as it has a fantastic psychedelic rock production, combined with samples and yells from Cudi and Kanye which you'd never hear in another project, which people take seriously.

Death Grips - No Love Deep Web (2012) Disgusting. Raw. Overpowering. Back in 2012 when this project was released, Death Grips completely took the internet by storm, as nothing like this had ever been released even in the underground hip-hop scene. Glitchy production, combined with guitar riffs, sudden breaks, yelling and completely unrelated gibberish in most of the songs, topped off with an album cover of Zach Hill's dick, this album inspired a decade of experimentation in rap music, leading to albums such as Kanye's Yeezy and Tyler's Cherry Bomb.

Ab-Soul - Control System (2012) Lyrically one of the most complex projects I've ever heard, Ab-soul's rhyme schemes and punchlines deserve a place in a literature course in University, as you'd need multiple listens on his songs to catch every little reference the rapper makes. The album has a fantastic jazz-inspired production, songs with a very disjointed beat, showcasing his emotional instability during making it, as he references his past and the personal issues he had to go through during life, the suicide of his beloved Alori Joh, which has caused him to contemplate suicide himself and the references to his co-stars in TDE's projects makes for a project you'll spend hours on end to try and figure out.

The Internet - Ego Death (2015) One of the best contemporary R&B projects, the Internet combines a very blues and soul inspired production for this one, giving face to their fantastic members ability to create a vibe and atmosphere in their music - the most impressive part for me with them is that this album really was the start of multiple fantastic artists solo careers: Syd, Steve Lacy, Matt Martians.

Little Simz - GREY Area (2019) This and Tame Impala were my only projects by non-american artists and for a reason. Little Simz crafted a fantastic hip-hop album filled with a mixture of aggressive, eerie production and classical jazz and blues samples, showcasing her talent to both sing and rap in every single song, exploring the difficulties of being a female MC in the modern era, the pressure and negative emotions she experiences having to work much harder in the industry than men and the pain she's felt during the years of her coming of age.

SZA - Ctrl (2017) My favourite R&B album of the past decade, SZA created one of the rawest, most emotional albums I've ever heard, reflecting on modern romance from a very personal and subjective point of view, gives this project a very aunthetic and deep feel you'd have to dig deep to find elsewhere. The album also underlines SZA's struggles as a modern woman, jealousy and the anxiety of being in your 20's. The project's classic R&B production combined with its features from artists like Travis Scott and Kendrick Lamar, really adds to an experience which could leave you heartbroken.

Isaiah Rashad - Cilvia Demo (2014) Although during the past year The Sun's Tirade has been my favourite and main album, it really is more of a vibe album and not as much as a personal abum as Cilvia. In Cilvia I found myself, Isaiah talks about his addiction issues, wanting to make it in a world full of hate, the horrible relationship with his father, thoughts of suicide, the lack of commitment he has in love and has received in his relationships and the social climate which makes him feel like he's less of a person. This isn't an album for everyone, but the people who can relate to what he's feeling will likely fall in love with this project.

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ryanmeft · 5 years

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Ranking the Marvel Cinematic Universe, Part 1

The culmination of the superhero ride that started with Iron Man back in 2008 is almost here. Avengers: Endgame tickets are selling out fast even though the movie is nearly three weeks away, and speculation as to how this stage of Marvel’s box office juggernaut will all end is at a fever pitch. What better time to rank the movies that have brought us here? Now, no one with even a tiny bit of objectivity sincerely believes Marvel had a ten year plan and executed it precisely according to a grand vision. Looking back through these movies makes it clearer than ever that, more often than not, they made it up as they went along. In fact, considering all the retcons, changed minds, dropped plot threads and unexpected surprises, it’s amazing the continuity holds together at all. It mostly does...but the bottom part of this list contains the few movies even Marvel’s PR team probably wishes they could have a mulligan on, as well as some good-but-not-quite-lighting-the-world-on-fire fare. Let’s get to it. Warning: this article contains spoilers for nearly every movie in the MCU.

21. Iron Man 2

The red-headed stepchild of the MCU. After the surprise success of the original Iron Man, Marvel Studios apparently forgot that the strength of that film was allowing Jon Favreau and the writing team to put heart before brand synergy, and decided to make a movie that was half marketing for their planned Avengers crossover. Dropping Black Widow in here felt completely jarring, and it didn’t help that her role just added to the jumble of plot threads that didn’t seem to add up to anything; at the time, many saw it as proof that Marvel was putting a little too much faith in their ability to pull off this whole crossover thing. That’s only part of the sordid story, though, because the movie is also a mess in nearly every other way. Rather than the tight plotting of the original, this one sees Tony, Rhodey, Pepper and the rest speeding from random situation to random situation---a car race, an unhinged party, a spy caper---with only the barest of plot threads holding it all together. The movie’s only saving graces are the villains played by Sam Rockwell and Mickey Rourke. Each of them deliciously devours every scene they are in, providing the film’s lone moments of enjoyment, but they’re also squandered on what feels like an extremely low stakes plan. Iron Man so well proved that superhero movies can have a soul that it even managed to make some critical best-of lists for 2008. The sequel made us wonder if that might have been a tad premature.

20. The Incredible Hulk

There are some genuinely creative moments in this action-oriented “apology” for the in-reality-pretty-good Ang Lee Hulk movie. The opening sequence showing how Hulk’s blood travels, a chase through a Brazilian favela, tossing Bruce out of a helicopter to incite his other half, and the almost-love scene aborted by the alter ego were signs of how clever the movie could have been if it were not focused on cramming in as much smashing as possible. Nick Nolte’s complex antagonist is replaced with William Hurt chewing a little too much scenery, the new super-villain played by Tim Roth is a dull waste of the actor’s talent, the finale is listless, and the entire movie is just one long excuse to show Hulk ‘roiding out as much as possible. The camera work of skilled action veteran Peter Menzies Jr. and some excellent CG on the title character make it more fun to look at than many of the tights flicks of the time, which is something. As a general rule, things that are made to chase fleeting audience sentiments don’t stand the test of time, and there’s been a quiet reversal since 2008 in which Lee’s more original and creative vision for the character has come to be re-evaluated, while this one has been almost forgotten and relegated to endless TNT re-runs. Maybe with Mark Ruffalo having one more movie on his contract, he’ll get a crack at doing it right post-Endgame.

19. Thor: The Dark World At the time, this movie served as iron-clad proof that the only reason the Thor character worked at all was Loki. The god of mischief is at his delicious then-best here, conniving from a prison cell, partnering with his brother out of genuine concern, and eventually managing to actually take the throne. Sure, that latter development was quickly undone in the next film, but what a parting shot. He’s the only aspect of the movie that fully works, and if you pop it in today you sit patiently waiting for his scenes and snoring through the second, Loki-free half of the movie. Thor himself is lifeless when Loki’s not on screen. The Warriors Three are still nowhere near the right balance of humor and bravery. Natalie Portman remains wasted on a supposedly genius scientist who can nevertheless be stunned into immediate silence by Thor’s golden locks, while Sif is still 100% unnecessary in every way. Perhaps worst of all, the underrated Christopher Eccleston is miscast as a villain who always seems to be doing bad Shakespeare. We all tried hard to forgive it at the time (and director Alan Taylor claims it was made “a different movie” in the editing room, not at all implausible) but thankfully we’ve since admitted this is mostly a misfire.

18. Ant-Man

If you were to judge Ant-Man entirely by the size-changing shenanigans, it would be one of the best Marvel movies. Peyton Reed, building off a script by departing director Edgar Wright and Joe Cornish (and tidied up by Rudd and Adam McKay) gets a ton of mileage out of the novelty of being the size of an insect, from outrunning a flood in a bathtub to that rather brilliant final confrontation in a child’s playroom, using toys as ammo. Further, Paul “I Am Immortal” Rudd is pitch-perfect in the title role, while Michael Douglas and Evangeline Lilly bring a lot to the picture. It’s in the details where Ant-Man falls a bit short (pun intended). To start, we have a single major Hispanic character in the MCU, played by the frankly more-legendary-than-you-think Michael Pena, and he’s reduced to a fast-talking stereotype. Judy Greer and Bobby Cannavale are also worlds better than their roles, which are, respectively, a cliche shrewish ex-wife and a cliche over-suspicious cop. What really drags things down, though, is the lackluster villain, who may be the most inert black hole in the MCU’s rogues gallery. He is neither good enough to engage us, nor bad enough to hate. He could have been played by a grip, for all the personality he’s allowed. The core of the film is delightful. The hill around it is crumbly.

17. Captain Marvel

Marvel’s first female-led flick is understandably a phenomenon, pulling down the sixth-largest opening weekend of all time and serving as inspiration to young girls and target to the kind of people who don’t want women in their clubhouse. So what about the movie that’s causing all this hullabaloo? It’s pretty decent. The movie can be summed up very succinctly as “safe”. It takes few chances and is more like one small step than one giant leap for womankind. Had it been released during the early superhero boom, it would still be fondly remembered as a major link in the genre’s evolution. As it is, it borrows from the buddy-cop subgenre to create what is essentially an adventure/sci-fi movie between Carol Danvers and Nick Fury. It stands out more as a callback to the kind of action pics made in the 90’s (when it is set) than the heavily marketed shared universe of the MCU, and includes standout performances from Annette Bening, Jude Law and Ben Mendelsohn. It meets expectations; it does not exceed them, and if you are a fan of the distinctive style practiced by directors Anna Boden and Ryan Fleck, you won’t find it here. It’s only a month old, and it may be too soon to definitely say how it will be seen as time goes on. Right now, it feels more like a solid first step for the character than a fully realized final destination.

16. Thor

The original Thor has some completely solid, indisputable charms. Chris Hemsworth does physical comedy much more skillfully than he is ever given credit for, it is the debut of Tom Hiddleston as Loki, the third act is a rare-at-the-time case of inventiveness in an MCU finale, and it’s always great to see Stellan Skarsgard in literally anything. I would watch two hours of Stellan Skarsgard eating lunch, with a clone of Stellan Skarsgard. His drinking scene with Thor is a seriously underrated bit of awesome. It helps make up for the fact that the movie has no idea what to do with most of the supporting cast, including in part Loki, who at this stage seems to flail around between personalities, having crazy forced on him in time for the final duel despite it not even being hinted at earlier. It’s as if director Kenneth Branagh just let him do his own thing, and Hiddleston’s not 100% sure what that should be yet. The mirror scene is objectively amazing, but he won’t really come into his own until Avengers. The Warriors Three are utterly wasted; Branaugh and the writers just never nail the right combo of comedy and camaraderie needed to pull them off. Sif is superfluous. Natalie Portman is one of the finest actors of our generation, here reduced to goggling over Thor’s pecs. It’s not bad, especially compared to some of the dreck that gets pumped out of the blockbuster machine. It’s just rather inert.

That’s it for part 1. I’m going to be doing some Marvel/Superhero/General Nerd content leading up to Endgame’s release. Check back next Friday for part 2 of this list, and pop by Monday for part 1 of my predictions on the fate of each character in Endgame. Part 2: https://ryanmeft.tumblr.com/post/184208179827/ranking-the-marvel-cinematic-universe-part-2 Part 3: https://ryanmeft.tumblr.com/post/184372777282/ranking-the-marvel-cinematic-universe-part-3

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alexanderking · 4 years

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Another top 20 albums of 2019

This is another tough list for me as there were quite a few standout albums this year, as well as some I’ve still yet to check out. With that being said...

“Have I left anything out?” – Albums of 2018:

Chris Dave & The Drumheadz – Chris Dave and The Drumheadz: While I can’t say I was blown away by this project (hence it not making my honourable mentions list last year), there are some truly standout moments on here. Those being ‘Dat Feelin’’, ‘Spread Her Wings’, and the fantastic cover of ‘Lady Jane’...

Georgia Anne Muldrow – Overload: I paid very little attention to Georgia Anne Muldrow’s output after 2010, despite it being consistent. I checked this project out due to its grammy nomination and was impressed by the more complete and focused selection of tracks, while keeping those quirks that I loved about Muldrow when I got into her earlier work. This would have made the honourable mentions. I no doubt have a rabbit hole to venture down in the future...

Alex Isley – The Beauty in Everything Part 1: While ‘La Brea’ is one of my favourite Soul/R’n’B tracks of the decade, and I love the work she’s done with Brandon Williams, I haven’t loved a lot of her full projects. I really enjoyed the music on here however...

Ashley Henry – Easter EP: Henry’s growth as a composer continues to grow. While the more jazz-leaning pieces appeal to me the most, I love the tinges of hip-hop influence appearing through the stylised cover of ‘The World is Yours (I love Music)’ and the sampling on ‘St Anne’s (Remix)’...

Dame Drummer – Loveloution: I DESPERATELY wanted to have this on this year’s list, but alas, this was released in October of last year (according to Bandcamp). This project covers politically conscious aspects like racism, self-worth and police brutality, as well as loving ourselves and each other. What’s more, all of this flows really well with the tracks being in alphabetical order! This would’ve got an 8 or a 9...

Ray Angry – One: I loved the work Angry did with ‘The Roots’, particularly on ‘How I Got Over’. Sy Smith had shared ‘Bjork City’ on Twitter, which caused me to check this album out. ‘Really enjoyed the compositions on here. I think this would have got a 19...

Mac Ayres – Something to Feel: Despite constant plugs of this artist on my Twitter feed, I STILL ignored this album last year. I have no idea why I did this...This album has a slight throwback to the borderline slow jam/neo soul sounds of the late ‘90s and early ‘00s. The subject matter covers love and relationships on the whole but the real standout here is the composition. This would’ve got a 6...

...2019:

20) Flying Lotus – Flamagra:

This is probably Flying Lotus’s longest project to date, but it stays as musically consistent as its predecessors. Not only are there strong moments in tracks like ‘The Climb’, ‘Heroes’ and ‘More’, there are also a lot of callbacks to earlier pieces later on to tie this project together. This will be one I appreciate more and more on each listen...

19) Little Brother – May the Lord Watch:

Phonte and Rapper Big Pooh reunite after (at least) eight years apart, blazing their own respective trails may I add. Each emcee brings their frequent collaborators on board to deliver some head-nodding and some soulful beats, well-delivered flows and some great in-jokes for Little Brother fans. And apparently there’s EVEN MORE to come...

18) Solange – When I Get Home:

This album takes on a way more positive and celebratory theme than the highly acclaimed ‘A Seat at the Table’. While this can be seen as a sequel to the aforementioned, I personally consider this a side quest taking off from the “intermission” track ‘Borderline (An ode to self care)’; this is literally what I would think a whole album in the vein of that track would sound like. This project also reminded me of Thundercat’s ‘Drunk’ in how all these short pieces are put together to create a fully cohesive album. My stand outs are ‘Way to the Show’, ‘Dreams’, ‘Almeida’ and ‘Jerrod’...

17) Anderson .Paak – Ventura:

Not even six months after ‘Oxnard’, we get ‘Ventura’! This can be arguably seen as the more soulful side of a double album, the first side containing more rapping. Despite this being so low on this list, I enjoyed ‘Ventura’ way more than ‘Oxnard’; these are the kinds of melodies I vibe more with these days. ‘Reaching’ 2 Much’ to ‘Chosen One’ is the strongest part of the album for me...

16) Rapsody – Eve:

Rapsody becomes more and more focused with each project! Much like ‘When I Get Home’, ‘Eve’ takes on a celebratory theme, but this time using each track to highlight one of her personal heroes, all of whom are women. My favourites are ‘Oprah’, ‘Maya’, ‘Iman’ and ‘Afeni’.

15) SEED Ensemble – Driftglass:

The Jazz Re:Freshed label deliver yet ANOTHER quality project via the SEED Ensemble. The subject matter on here is pretty dark as it deals with race relations in the UK; a narrative which I feel was becoming increasingly dismissed with the “but at least you’re not Black American” argument when discussing racism in this country, passive-aggressive or otherwise. The piece ‘Interplanetary Migration’ closes the album with a more hopeful message through the bouncing thump of the drums and the blaring burst of horns. My favourites are the ‘Stargaze’ interludes, ‘The Dream Keeper’ and ‘Mirrors’, although the piece ‘W A K E (for Grenfell)’ must be noted...

14) Raphael Saadiq – Jimmy Lee:

I’ll be honest. I was not a fan of the ‘Modern Soul’ era of Raphael Saadiq. I cautiously gave this a listen, keeping in mind that his last album was in 2011. I was impressed, not just with the selection of musicians that brought their sound to the table, but with the narrative it follows. ‘Jimmy Lee’ is the story of Saadiq’s eldest (and favourite) brother and his battle and eventual defeat with drug addiction. That being said, ‘Jimmy Lee’ doesn’t entirely take a sombre note. There are moments of hope in tracks like ‘So Ready’, ‘I’m Feeling Love’ and to a far lesser extent, ‘My Walk’. Not only is this (for me) Saadiq’s best project since ‘As Ray-Ray’, but it’s his most personal album in his entire career so far...

13) KAYTRANADA – BUBBA:

I was genuinely surprised at how much I enjoyed ‘BUBBA’. This project takes on the similar bouncy, dance-tinged groove that KAYTRANADA is generally known for, but also includes some elements of Afrobeats to give it an edge. This album also gives ‘Teedra Moses’ another iconic track through her feature on ‘Culture’...

12) Resolution 88 – Revolutions:

Resolution 88 have fully come into their own on this project. While there are still clear influences of the Headhunters/Weather Report era, the music feels a lot less like a direct homage. Each track is inspired by a sequence or nuance when dealing with vinyl records. My favourites are the title track, ‘The Matrix’ and ‘Warped Memories’. It’s also worth noting the ‘Butcher Brown’ shaped rabbit hole I went down after hearing the Marcus Tenney feature on here (well...this and their feature on Mac Ayres’s ‘Juicebox’...

11) Mac Ayres – Juicebox:

This is one of the many recommendations Dan has sent me over the past few years. There was something about the opening track ‘I Wanna Give Up’, nothing to love right off the bat but something. It was the following track ‘Shadows’ that made me want to hear the rest. ‘Juicebox’ has less of the throwback element of ‘Something to Feel’, which for me is most welcome. While this project stays on a high from ‘Where do we go from Here?’ to ‘Come Thru’, my favourites are ‘Jumping off the Moon’, ‘S**t Covered in Gold’, ‘Caught Up’ and the closing track ‘Something More’, which has an extended closing that I can't help but hum/sing along to...

10) Zo! – FourFront:

I’m not sure of my mood had anything to do with it, but ‘FourFront’ marked a return to form for me after ‘SkyBreak’ (I liked it, ‘didn’t love it). The Soul, Jazz, R’n’B and Disco influences are a-plenty, all which lend themselves to this album well. Devin Morrison and Madison McFerrin are welcome additions to the FE+ friends of family. And might I add, the interludes are as strong as some of the tracks here...

9) Dego – Too Much:

I’m thinking and hoping that the pattern for a specific Dego album release will be every four years as this has been the case with the last three (along with the myriad of releases under different pseudonyms and with different artists over the years...). ‘Too Much’ delivers some good old broken vibes while leaning more on the vocals for the first two thirds of the album. There’s a nice revisit in ‘You Are Virgo’, referring to the 2011 track ‘We Are Virgo’. It’s only the last few tracks that wane for me a little bit, but not enough to put this any lower on the list...

8) Shafiq Husayn – The Loop:

After about a nine year wait, Shafiq Husayn releases his sophomore solo project !! I would say this album feels a tiny bit less cohesive than ‘Shafiq En’ A-Free-Ka’, but the tracks are individually stronger. My favourites are ‘May I Assume’, ‘On Our Way Home’, ‘Cycles’ and ‘Hours Away’...

7) Ashley Henry – Beautiful Vinyl Hunter:

I. Am. KICKING. MYSELF. For missing the Ashley Henry show at Jazz Re:Freshed on December 19th!!!! I love this album! There’s some great contemporary jazz as well as hip-hop and orchestral influences to make ‘Beautiful Vinyl Hunter’ really shine! My standouts are ‘Realisations’, ‘I Still Believe’, ‘Sunrise’, Lullaby (Rise and Shine) and ‘Battle’...

6) Kendrick Scott Oracle – A Wall Becomes A Bridge:

This album was the result of a bout of writers block, which musical director Derrick Hodge helped Kendrick Scott work through. The result is effectively an off branch of the Robert Glasper Experiment, through its use of echoed recordings and DJ scratches to deliver themes or words of wisdom. Much like 2013′s ‘Conviction’, ‘A Wall Becomes A Bridge’ plays seamlessly, so seamlessly that I either forget to skip to my favourites, or I let the filler play as it introduces my favourites so well...

5) Devin Morrison – Bussin’:

A tweet from ‘KING’ (or ‘We Are KING’) put me on this album. For anyone wanting to fill that classic R’n’B void, Devin Morrison is another artist keeping that era alive. Even the funk inspired jams that I wasn’t too hot on have become growers. My favourites are ‘Guaranteed’, ‘The Call (407)’ and the slightly smug ‘No’...

4) Lucky Daye – Painted:

My sister put me on Lucky Daye. And how glad I am she did!! ‘Another crooner filling the R’n’B void (and helping us forget how hard Daniel Caesar ****ed himself in Feb...). While Lucky Daye has been behind the scenes as a songwriter for a while, it’s great to see him step to the forefront with his own blend of vulnerable lyrics, as well as the occasional blunt rap verse, delivered with an impressive flow might I add! ‘Extra’ is one of my favourite R’n’B tracks this past decade...

3) Daniel Casimir & Tess Hirst – These Days:

The sounds of Daniel Casimir kept me company during my walk on the Capital Ring trail back in 2017. Hearing ‘What Did I Do’ had me itching to hear the rest of this album. And I wasn’t disappointed! ‘These Days’ also has Soul, Jazz and some big band influences throughout. Tess Hirst impressively delivers vocals touching on race relations in the UK and the effects of gentrification in the capital...

2) Esperanza Spalding – 12 Little Spells:

The first 12 tracks were actually released in 2018, but the full release came in March of 2019, hence why this is on the list. I see ‘12 Little Spells’ as an amalgamation of Spalding’s musical journey so far. Tracks like ‘All Limbs Are’ and ‘Readying to Rise’ calling back to ‘Chamber Music Society’, tracks like ‘Touch in Mine’ and ‘The Longing Deep Down’ calling back to ‘Radio Music Society’ and tracks like ‘To Tide Us Over’ and ‘With Others’ calling back to the more recent sounds of ‘Emily’s D+Evolution’ and ‘Exposure’. This continues in the experimental vein as each track is part of a long sentence and touches on the nuances and subtleties of various parts of the body. This was nearly my album of the year but...

Brandon Williams – The Love Factor: Despite ‘matters of the heart’ being a sore spot for me at the moment, I couldn’t deny how much I enjoyed the offerings on ‘The Love Factor’, one of those being a cover of one of my favourite George Duke pieces, which opens and closes the album. As the title suggests, each track covers a facet of love, including our resilience toward desiring love, trust issues, vulnerability and the dream-like state love can create. While there are many vocal and musical features on here, Alex Isley takes the MVP spot for her work on the album’s centrepiece ‘Say That You Love Me’...

Honourable mentions:

There are many honourable mentions, but I only have space for 10...

Tyler, the Creator – IGOR: I was as taken aback as a lot of people on initial listen. I also can’t pretend that the narrative concept doesn’t still go over my head. But I can’t deny Tyler’s progress in his music writing and composition, nor his skill utilised on the various verses throughout the second half of ‘IGOR’

Steve Lacy – Apollo XXI: ‘An enjoyable debut from who has become one of the most prominent members of ‘The Internet’. As well as the sounds we’ve come to expect from the band, Lacy gets a chance to delve into more of the rock influences on tracks like ‘Lay Me Down’ and ‘In Lust We Trust’. There’s also a potential anthem in the coming out suite ‘Like Me’ and a beautiful moment in ‘Amandla’s Interlude’...

Matt Martians – The Last Party: ‘Martin’s second solo project (’something closer to his 12th project overall). ‘The Last Party’ has a theme of being accepted as we are this time around, but keeps the format of having hidden tracks in each song. My favourites are ‘Off My Feet/Westside Rider Anthem’ and ‘Look Like’...

C R O W N – Unlearning: After a number of EPs, C R O W N graces us with her debut LP. ‘Unlearning' utilises Jazz-tinged soul instrumentals to ultimately deal with addressing our needs and letting go to help ourselves grow. My favourites are ‘15 Summers’, ‘S**t To Do’ and the acoustic track ‘Lines’...

Moonchild – Little Ghost: This was a strange one for me. All the elements that I love about this group is present. But I wasn’t feeling this as much as ‘Voyager’ (2017′s #1). I’m not sure what’s missing for me here...there are still glowing gems in ‘Wise Women’, ‘Got To Know It’, ‘Whistling’ and ‘Still Wonder’...

Bree Runway – Be Runway EP: It’s criminal that Bree Runway hasn’t quite gained the recognition she deserves just yet. Bree is easily one of the most interesting vocal artists the UK has to offer right now. I found myself head nodding uncontrollably to ‘2ON’ and ‘X2C’! I’m looking forward to even more in the future...

Quelle Chris – Guns: Quelle Chris returns so soon after ‘Everything’s Fine’ to touch on race relations in the US through the love of guns, at times to people’s detriment. The head-nod factor of the slightly odd-ball instrumentals, along with the various reflective and celebratory moments in the second half had me return to this album a lot...

YBN Cordae – The Lost Boy: This was another recommendation from Dan and yet another welcome surprise! It’s emcees like this, who integrate the trap rhyme style with storytelling and punchlines that will progress the genre even more. Standouts are ‘Have Mercy’, ‘Thousand Words’ and ‘Been Around’...

Alex Isley & Jack Dine – Wilton EP: I found out about this EP through someone who liked my tweet listing my top 10 R’n’B songs of this decade. I recognised Jack Dine from his collaborations with Mac Ayres. His production allows Isley to delve even further into soulful slow jam territory. Check out ‘Wait’ and ‘There was Love’

Joe Armon-Jones – Turn to Clear View: I loved ‘Almost Went Too Far’ from 2018′s ‘Starting Today’. This caused me to investigate this 2019 project. ‘Turn to Clear View’ takes a departure from the Dub influences of his previous offering to venture into electronic jazz and west African music to an extent. My favourites are ‘Yellow Dandelion’, ‘(To) Know Where You’re Coming From’ and ‘Self: Love’...

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