#music reviews

[redpanther23]

Last night I saw Devastantem play again (those familiar with my work may recall them as the arch nemeses of my band, Rong.) I have literally never had a good time at a Devastantem show, and if the music wasn't so goddamn good I'm sure I'd quit showing up.

Some punk bands (like the Sex Pistols) made it part of their act that they hated each other. Devastantem takes this a step further by trying to inspire the audience to hate them as well (especially, in my experience, the more of a fan you are.) At a Devastantem show, the air is so thick with barely restrained violent tension that it's hard to breathe. If there's a crowd, there's sure to be at least one fistfight. Invariably, someone in the band or their entourage tries to get me to punch them, though I've yet to oblige any of them (especially since in the case of certain band members, I suspect this is possibly part of some strange courtship ritual invented by their primitive tribe.)

Once I made a Devastantem patch for my vest, and when their lead singer JJ Floyd saw it, they dramatically demanded I remove it on the spot. It was unlike anything I've ever experienced with any other band I've hung out with, so of course the dynamic fascinated me. You can't judge them too harshly, of course - given that they were raised by skunk apes in the wilderness of the Mississippi Delta for 12 years, running naked through the bush and eating mostly wild psilocibin mushrooms and raw possum meat they hunted with their bare hands. That is until, one fateful day, while following the tracks of a wounded armadillo, they came across a dive bar, outside of which an old black dude was singin' the blues. Someone handed them their first Jack 'n Coke, a blunt, and a beat up old Washburn, and they realized their true destiny: to be a rock star. After that, they learned to wear human clothing, and to play a mean guitar, and I'm told they're closely studying our custom of bathing in hopes of acquiring it in the future.

Their sound is grungy, goth, and psychedelic. Somewhere between the Misfits and Bauhaus, but not quite like either. It's got a traditional sound at the same time as being new and unorthodox, a balance that few bands can find. Their lead singer has the most incredible voice, and nearly every song has a remarkably unique and creative structure and sound. They don't really sound like anything else, if I'm being honest. So despite their lead singer being quite possibly the world's biggest asshole, I can't help but keep coming back for more - it's like really spicy food, or BDSM, or getting a tattoo. It just hurts so good.

Princess JJ ostentatiously forbade me from linking to their band if I talked about them online, since I'm just one of the many unworthies, but word on the street is they have a Youtube and a Facebook page.

#red panther speaks #devastantem #bands #music reviews #punk #mississippi punk #mississippi rock #grunge #goth #essays

[allmusicmondays]

In the appropriately named ‘#turndaworldup’ emerging New York artist Uuelz continues to cross pollinate genres, blend worlds and convey complex ideas with simplicity, style and substance. Uuelz takes Jerk and R&B to new heights - Uuelz posits the question “can we get much higher?” and #turndaworldup delivers a satisfying answer.

Read: allmusicmondays.com/reviews/uuelz-…

Written By: @K0nbin1

All Audio Platforms: anchor.fm/allmusicmondays

Make sure you visit our homepage here: allmusicmondays.com

Join our discord for the best place to discuss your music, art and much more: discord.gg/qDhRqptdCc

#underground music #music monday’s #music blog #music #youtube #underground #underground podcast #podcast #new music #music reviews

[saturnsfinest]

Rizz Margiela's 'Delegati': A Trip Inside The Brain Of A Florida Boi

I thoroughly enjoyed the EP, "Delegati." It's a fun, light-hearted collection of tracks that show Rizz's commitment to making music that's enjoyable for his audience. The choice of light topics and the overall sense that Rizz had a great time creating this EP shines through in each track.

What I appreciated the most was how each song seamlessly transitioned into the next, creating a cohesive and well-crafted body of work. It's a lost art in many albums, and it elevated this EP to a new level.

Despite being only four (technically five) songs long, "Delegati" tells a complete story with a clear beginning, middle, and end, making it a cohesive oeuvre.

The EP begins with "Close Friends," which sets a calm, chill vibe while hinting at some underlying toxicity. The production is solid, and it's evident that effort and care were put into creating this track. The song explores a "situationship," and it's a hit that keeps you engaged.

"Hips" stands out as an instant hit with a fun, danceable energy. The collaboration with TheKid09 adds an extra layer of enjoyment to the mix.

My personal favorite, "French Tips," oozes with the vibe of slow dancing in the club and exudes captivating energy. It's a reminder not to trust a Florida man, but we knew that already.

In essence, "Delegati" showcases Rizz's musical talent, especially in rhythm and beat selection. It strikes a balance between light-heartedness and a touch of toxicity, making it a worthwhile listen.

I genuinely enjoyed this EP, and I believe it's worth a listen. Don't just take my word for it – give it a spin and experience the fun for yourself.

@rizzmargiela

#tunde imann #Rizz Margiela #music reviews #writers on tumblr #woman writers

[coffeejoshy]

In a track that feels like its own self-contained, magical snow-globe, Mitski takes us alongside her on a reflective midnight stroll, before her world is violently up-ended by the cacophonous finale, the snow-globe’s landscape obscured by a blizzard of snow and noise.

Playlist:

#music reviews #new music #soty #2023 music #americana folk #chamber folk #mitski #the land is inhospitable and so are we #the deal #Spotify

[escapingpurgatory]

Preacher's Daughter Review

I relistened to this album a week or so ago and became inspired to write a review of each song as well as the album as a whole. I wrote this in my notebook, but I wanted to type it out and post it here! I'm gonna do this song by song, then an overall review and rating of the album. Let's begin!

Family Tree (Intro)

A very beautiful and mellow start to the album. I find the lyrics most beautiful, as well as hard hitting. At the beginning of the album, Ethel's father, a preacher, dies. This helps set up the majority of the album. One lyric I love is when Ethel is talking about her father saying "You know I raised you better than this." My rating for the track is an 8/10.

American Teenager

God, I love this song... My favorite part about the track is the guitar parts. That shit sends me FLYING. I love when she says "It's just not my year." Multiple times throughout the song. The whole chorus in general is just so gooddd... Every part of the track is truly perfect, I also love, love, LOVE the ending. When she repeats "For me" multiple times, it's so perfect, it just draws you in. This track is a solid 10/10.

A House In Nebraska

This song is absolutely SOUL CRUSHING. Like, holy shit... This song represents how Ethel was so in love with Will, and was devastated when he left her. She repeatedly talks about loneliness throughout the track, really proving the point I made previously. My favorite line from this song is "Your mama calls me sometimes to see if I'm doing well, and I lie to her and say that I'm doing fine, when really I'd kill myself to hold you one more time." Aside from the lyrics, the actual music is so fuckin' breathtaking. Another perfect 10/10 track.

Western Nights

This song is really interesting, and I sometimes feel like people overlook it. Ethel falls in love with a man named Logan, who uses crime to support himself and Ethel. I find the trope of love and crime to be really cool, and very in place in the album. The whole "bad boy" shtick is fitting for Ethel's rebellious treck away from home starting in the sixth track. My favorite line from this one is "I'd hold the gun if you asked me to, but if you love me like you say you do, would you ask me to?" This one is a good 7.5/10 from me.

Family Tree

Meant to reflect on Ethel's relationship with Logan after is death in a shootout, this track is very beautiful. She ultimately finds similarities with loving such a violent man to her relationship with her family. Along with being in love with the entire chorus, my favorite line is "I've killed before and I'll kill again, take the noose off, wrap it tight around my hand." Back to the chorus, I find it so hauntingly beautiful. I love this track, 9/10.

Hard Times

Yet another devastating track from the album. This song is about the molestation of Ethel from a young age by her father, Joseph. As we know, he died at the beginning of the album. He began doing this when Ethel was 9, up until the time of his death when Ethel is 20. The idea that a "man of god" could commit such vile, disgusting acts should be eye-opening for some people. My favorite line from this track happens to be from the final verse of the song, "I'm tired of you, still tied to me, too tired to move, too tired to leave." This song marks the beginning of Ethel going on the run. Beautiful and disturbing, 8.5/10.

Thoroughfare

One of my favorite tracks on the album, it documents Ethel meeting Isaiah in Texas and travelling west to California with him. On the way there, Ethel and Isaiah develop a mutual attraction. As soon as they reach the coast, they start a relationship. Ethel was kidnapped, but since she had seemed to have developed Stockholm syndrome, she didn't see it as such. This song has a very country feel, but I absolutely love it nonetheless. This was actually the first song of Hayden's that I'd heard. The lyrics are beautiful and represent blossoming love, but it quicky turns sinister. I can't even choose my favorite line because I love every single part of it! This is a 100/10.

Gibson Girl

After Isaiah and Ethel have been out west together for a while, the relationship turns abusive. They both fall into drug addiction which leads to Isaiah convincing Ethel to become a prostitute to help pay for more drugs. She begins to see her mental health deteriorate, along with her sense of who she is. Ethel talks about her struggles with her mental health and the prostitution throughout the song. My favorite line from this song is "Obsession with the money, addicted to the drugs, says he's in love with my body, that's why he's fucking it up." It's sad hearing and thinking about how pieces of who she was fading away. Solid 8/10.

Ptolamaea

Wow. This song is phenomenal... It represents a hallucination Ethel has while on drugs. She envisions Isaiah as a demon which represents her finally realizing the kind of man he is, as well as his intentions. She has this hallucination after Isaiah uses physical violence towards her. This song is so haunting, when the climax of the song hits, it's like my soul leaves my body. That being said, my favorite "line" of the song is the scream itself. It's the perfect representation of feeling trapped and wanting to be released. This is another fuckin' 100/10, hands down.

August Underground

The first of the two back-to-back instrumental tracks on the album, August Underground represents Isaiah taking Ethel to a house in northern California and ultimately murdering her. Another beautiful track off the album, but in a melancholy way. 9.5/10. This track leads to...

PART 2 ⬇️

#Spotify #ethel cain #mother cain #indie #hayden anhedönia #music reviews #album reviews #preacher's daughter #preachers daughter #southern gothic

[thesinglesjukebox]

PORTER ROBINSON - "CHEERLEADER"

April Fool's Day is over, now time for some SINCERITY...

[5.92]

Taylor Alatorre: This song sounds embarrassing. It sounds excessive. It sounds like something you might regret putting into the world five seconds after hitting "publish." It sounds, in other words, like high school. Porter Robinson's post-brostep career has been an extended treatise on escapism -- from the appealingly plaintive paracosms of 2014's Worlds to the soothing self-inventory of 2021's Nurture, with his Virtual Self side project managing to be both esoteric and stupidly self-explanatory. He's crafted a series of immersive alternatives to analog messiness, allowing the listener to check out of the everyday and place themselves for a moment in a softer-edged realm, with more explicable rules and a more poetic set of problems. "Cheerleader," though, offers the listener no assistance in either sidestepping or reconfiguring the uncomfortable reality into which they were born; music video aside, it's not really a song about fanbases gone wild either. Instead it's about the girl in your school's Anime Club who gave out her deviantART username before her phone number and taught you against your will what the word yaoi meant. The fujoshi representation, besides filling a glaring gap in the TSJ search index, makes it clear that this is about a real person and not an avatar, and it's that awkward flesh-and-blood realness which is precisely at issue here. Maybe she's as real as him, and maybe he couldn't live with that. The perspective of a boy who is unused to being the object of obsession is an under-explored one in music, probably because it's very hard to land it within the narrow range of acceptable loserdom. But Porter sticks the landing by enveloping us fully within the loser's headspace, where both his emo-inflected chagrin and his fragmented memories of the girl's "cheering" are enshrouded by a waterfall of blown-out Obama-era detritus. If you ever wondered what a big room house remix of Two Door Cinema Club might've sounded like, or Oracular Spectacular if it had debuted on Beatport, here's your answer. Other seemingly out-of-place additions -- the bitpop cowbell, the Punk Goes Acoustic bridge, the hilariously overwrought drumroll that becomes less so the second time around -- fit right into this 1080p capture of late adolescent bag-fumbling. Taken together, they convey a mismatch in interests and hobbies that may have seemed like a deal breaker at the time, but in hindsight was just another excuse to avoid vulnerability. Perhaps I only arrived at this gonzo interpretation because the 4chan-core single artwork serves as a kind of shibboleth for these things. If that's the case, then I plead guilty: I ate the apple. [10]

Oliver Maier: "We have Anamanaguchi at home." [6]

Hannah Jocelyn: I loved Porter Robinson's Nurture for its unapologetic sincerity, a balm when emerging back into the world post-lockdown. I miss that early hopefulness as the years have gone on; even now, it's hard for me to hear "Unfold" without being close to tears. "Cheerleader" is a frustrating detour, with inane lyrics about yandere fujoshis fetishizing Robinson -- you know you're doing nothing new when the Nostalgia Critic beat you to it, and Robinson hardly sells the can't live with 'em, can't live without 'em message better. Nurture, for better or worse, incorporated the pitch-shifting vocals of hyperpop into EDM (to the point where a trans woman musician I know grew frustrated with Nurture's acclaim for doing what acts like Katie Dey had done for years, regardless of how Robinson himself identifies.) That's worth acknowledging, especially as this attempts to go right to the source: 3OH!3 and Metro Station come to mind. Except there’s none of the polish that makes those songs work despite themselves -- What's with that tinny hi-hat? Where's the low end on the guitar? Listen to "Shake It"; that song from 2007 sounds better than this one from 2024. It's not enough to replicate the aesthetics; for some ungodly reason, Robinson decided it must sound like it's coming from a Hot Topic speaker too. [4]

Claire Biddles: We have "Shake It" by Metro Station at home. [4]

Tim de Reuse: I admire the chutzpah to take a stylistic hairpin turn like this. And I appreciate the ability to do that while retaining the crystal-clear boom-bap production chops that made you a breakout sensation in the first place. And I appreciate how it makes its power-pop references clear without sticking to them too desperately. And I appreciate the sheer craft; birds fly, rocks sink, Porter Robinson writes synth hooks that wrap around your mind and squeeze tight. And I appreciate the line about getting drawn kissing other guys. But there's a clean and edgeless quality here, a sterile expression of his EDM roots, that directly contradicts his attempts at a heartbreaking singalong. Nowhere does his voice crack with raw emotion; nowhere does it seem even possible that his voice might crack with raw emotion. [5]

Kayla Beardslee: Porter Robinson’s doing anime OSTs now? Good for him. [7]

Leah Isobel: I see this fitting into a whole universe of PS1/Nintendo DS aesthetic indie games, YouTube video essays about old anime, trans girls with Neocities websites, indie pop sung by vocaloids. I could call it hyperpop -- not in the sense of overdriven chaos, but in the sense of the hyperlink. (HTML revival would be more accurate.) As such, it feels a little too precise, its scruffiness deployed too purposefully; I feel like this stuff works best when the self is obscured, and Porter is too big of a star to let that happen. But that also means the chorus is fucking massive, so I can't complain too much. [7]

Nortey Dowuona: The soft, limply placed drums in the song for once are not the sabotaging element in this song. The lithe, acoustic guitar bridge is even nicely played. The guitar riff, doubled by the synth, is the true arrow to the heart of this song. Porter is processed to hell and back, refusing to give over his composition to a more present, entertaining vocalist, but that riff is so grating and stiff that when it first arrives, sliding up as the culmination of the slowly hopping pre-chorus, it stops the song from progressing any further, simply pushing Porter into the background and leaving his Melodyned voice slack below it, struggling to be heard. Now, does this stop me from screaming that chorus in my head? Of course not. It's not fair I have to keep hearing this grating riff every time, though. [6]

Ian Mathers: God, I love that recurring, overdriven synth sound that kicks in on the chorus. If anything I wish it was more all-enveloping when it hits (yes, like shoegaze, yes, I'm predicable). There's lots of other interesting things going on here, but I can't quite get over that visceral rush enough to figure out my response to it all. Hit the whoosh button again, Porter! [8]

Jacob Sujin Kuppermann: Not nearly dumb enough for me to enjoy its shtick. [3]

Isabel Cole: This sounds like a One Direction album track in a universe where after they got kicked off The X Factor, Simon Cowell realized he could save so much money by replacing everyone but Liam with robots, only when they got into the studio there was some kind of malfunction and Zayn-bot started screeching uncontrollably and Niall-bot fell on his side crackling horribly with static while Harry-bot and Louis-bot took turns punching each other until they were dented beyond recognition, and that's why it sounds like how it sounds. (Liam didn't notice anything amiss, obviously; have you met him?) [4]

Will Adams: At the heart of Nurture was its... well, heart. On that record, Porter Robinson wore his on his sleeve, crooning lines like "I'll be alive next year / I can make something good" without a hint of irony. On "Cheerleader," he surprisingly lets a bit of cynicism slip in. It's not a leap to see how producing such earnest, sincere art would naturally invite fans to form parasocial relationships, to draw fan art but not know where to "draw the line," to develop a near-fatalistic expectation of commitment. But between each of those details is a generous counterpoint, where Porter wonders if he benefits just as much from these feelings. It creates a fascinating tension, expressed best by the chorus: "IT'S NOT FAAAAIIIRRRRRR!", stretched over a fizzy, tightly-wound power-pop arrangement complete with a skyscraping synth line. Porter just can't help himself. We've all got feelings; why not scream them to the rafters? [8]

Katherine St. Asaph: Porter Robinson's brand of earnestness makes my heart feel burnt or dead. [5]

[Read, comment and vote on The Singles Jukebox]

#porter robinson #music #music writing #music reviews #music criticism #the singles jukebox #Youtube

[heidismagblog]

#circus #circus magazine #long players #music reviews #GnR #guns n' roses #axl rose #warrior soul #revoltingd cocks #eleven #the screamin' cheetah wheelies #die krupps #king's x #tad #def leppard #iggy pop #videozine #treponem #green apple quick step

[tobobby]

music review #1 - the ballad of hollis brown

rating: 10/10 song: the ballad of hollis brown album: the times they are a-changin' (1964) artist: bob dylan

just pre-dating dylan's electric era, this track is haunting and certainly a predecessor to songs like "it's alright ma (i'm only bleeding)". with its repetitive acoustic guitar chords and harrowing lyrics, this song is certainly one of my favourite dylan tracks, and i love it so much that i renamed my socials after the song.

the lyrics tell the story of a man named hollis brown who lives in a broken-down cabin & farm outside of a south dakota town. he has a wife and five children and is incredibly poor & jobless, with no one to help his family out. his family is going hungry & so they scream & cry, but still, hollis brown feels hopeless as he cannot do anything. and so, he uses the last of his money to buy shotgun shels and murders his children and wife and then himself. the song ends with the ominous lyric, "somewheres in the distance there's seven new people born".

first, i'd like to talk about the interesting lyric & rhyming pattern dylan utilises here. it's certainly unique, as it has the pattern of:

line 1 [A] line 2 [B] line 1 [A] line 2 [B] line 3 [C] line 4 [B]

it is quite repetitive, but also very impactful. another interesting aspect of the lyrics is the point of view. very few writings in general are written in second person point of view, and here, this pov is used to make the song all the more visceral. you are hollis brown; you walk the floor and wonder why with every breath you breathe; your wife screams are stabbin' you like the dirty driving rain; your eyes fix on the shotgun that you're holdin' in your hand. this certainly allows for the listener to, at the very least, make more sense of what brown's thought process it is, no matter how fucked up it is. dylan places the listener in the position of brown, and by doing this forces the listener to wonder what they would do in this situation, if they would have any other option.

this technique is certainly effective and although seemingly small is quite important in what makes this such a good song. another detail is the descriptive lyrics, setting, & similes dylan uses. there's a lot of scene-setting, such as the lines "way out in the wilderness a cold coyote calls" and "seven shots ring out like the ocean's pounding roar". it's extremely important to the listener as it helps visualise the setting of the song and understanding exactly how brown feels / what he is experiencing.

one of my favourite lyrics of the song has to be the line:

you walk the floor and wonder why with every breath you breathe.

there are SO many interpretations to this line. brown could be wondering why his life is so terrible, why he's stuck in this cycle of poverty. this could also take to mean that he's wondering why he's even alive (explained more in this genius lyric annotation), hinting at his suicidal tendencies early on in the song. or, it could be about his baby, as the line before this mentions his baby tugging at his sleeve. maybe he's curious as to what the baby wants from him, after he's tried everything he can. and again, this line (like most of the song) is written in second person, meaning you're placed in the shoes of brown, left to decide for yourself.

another one of my favourite verses is:

your brain is a-bleedin’ and your legs can’t seem to stand your eyes fix on the shotgun that you’re holdin’ in your hand

i love this lyric because it's so explicit. the bleeding - metaphorical at this point, but affecting brown physically; the shotgun in brown's hand, the final moments before he murders his family. dylan slowly hints at this moment the entire song making this climax incredibly effective. i just adore the uneasiness of it all.

finally, the last lines of the song (likely the most important, summing up the moral) is ambiguous and fascinating.

there’s seven people dead on a south dakota farm somewhere in the distance there’s seven new people born

that last line. "there's seven new people born". again, this can be taken to mean multiple things; is he referring to the fleeting nature of human existence, how easy it is to murder seven human beings and them being replaced immediately? is he referring to the cycle of poverty, that these seven new people will also be born into poverty and repeat brown's cycle? that it's easier to replace seven people than it is to keep them from dying?

many questions arise when listening to this song, and rightfully so. this song makes me think a lot, and i love it. it's an incredibly underrated track and i hope you all listen to it and love it as much as i do.

#iris reviews #iris' picks #music review #music reviews #ballad of hollis brown #the ballad of hollis brown #bob dylan #song review #music #song reviews #album #albums #bob dylan review #60s music #the times they are a changin'

[mywifeleftme]

260: Buddy Holly // Greatest Hits

Greatest Hits Buddy Holly 1967, Coral

As with following any artist who died young, being a Buddy Holly fan is like doing one of those connect-the-dots drawings where they give you part of the image and you fill in the rest as a wireframe. There isn’t a shortage of material exactly—he’d released 50 or so songs by the time he died in February of 1959, and recorded enough that “new” Buddy Holly records ensured he was a regular presence on store shelves well into the late ‘60s. But his literal absence gives all these assorted cash-in repackagings a fanfictional quality, exercises in instant nostalgia. As a fan, you can choose between seemingly half-a-dozen sensationally overdubbed versions of a song like “What to Do,” each based on a hushed demo he’d recorded on an acoustic guitar in his apartment; you can even decide that that set of demos, which are admittedly exquisite, represent the “true” Buddy, even though the singles he signed off on in his lifetime often had plenty of bells and whistles.

The fact is, we can never know where Holly might’ve gone as an artist, no matter how assiduously we sift through the pile of variously-incompleted sketches he left behind. Grim, unromantic precedent suggests we lost out on perhaps three to four years of his prime. Among the early prodigies of rock ‘n’ roll, none had a run of greatness much longer than six or seven: not trailblazers Berry or Little Richard, not the King, not even a singular songwriting genius like Orbison. Most of them rarely even managed a memorable single once they’d moved past their primes, let alone albums (with all due respect to the Everlys’ Roots and Bo Diddley’s The Black Gladiator). Perhaps something in the effort of instantiating a brand-new genre burns an artist out more than the work of refining one with an established foundation. Regardless, the shapes of these primordial figures in rock and roll are detectable again and again throughout the music’s history; for a rock fan, discovering the recordings of a Buddy Holly is one of those Rosetta stones that helps translate and connect so many of the currents you’ve followed in your own listening journey. He’s dissolved into the body and blood of rock like some bespectacled divine sacrifice.

But before he was dissolute, he was his body of songs. I don’t own either The “Chirping” Crickets or Buddy Holly, though both are great records and contain a good number of his classic songs. I also don’t own any of the more comprehensive retrospectives (of which 1979’s six-LP The Complete Buddy Holly is probably still definitive) either. I’ve just got this basic as mish Greatest Hits from 1967 and… that’s absolutely fine! It’s well-sequenced, has no bad songs, hits a lot of the absolute peaks, and even includes my preferred overdub of “What to Do.” It necessarily lacks many of his essentials, but in terms of single LPs you can find for like $1 in the year of our lord 2024, the list of records with more bang for your buck is short indeed. If Holly’s yet to hit for you, the hoopla can admittedly be a little perplexing, but take it from me: if you’re wired for rock music, you’ll get it one day.

260/365

#buddy holly #'50s music #early rock #rock n roll #dead rock stars #overdubbing #music reviews #vinyl record

[azazel-dreams]

The Very Best of Dolly Parton

Rating: ❤️❤️❤️❤️❤️

#The Very Best of Dolly Parton #Dolly Parton #cd #cd recommendation #music #music recommendations #CD Reviews #music reviews

[sadrockandwaltzes]

Bad Taste

I was looking at a list of the worst Doors songs ranked, and you'd never believe what I saw!

My two favorite songs ranked in the top 5!

My favorite song being placed at no. 5 (interestingly lower than the arguably much better no.3. Then again this was only one person's ranking- clearly lacking in taste)

See how even the description doesn't make it sound bad! Dreamy! Creakiest and crooniness! How is that an insult?!

But even worse is this gorgeous track. What'd you do to be placed at 3rd worst?? Methinks this author simply despises all things heartfelt and romantic.

It is true that I like their outlier songs more than their general sound, but I don't see why this should mean that true fans only enjoy their typical tunes! Who are they to hate on a perfectly lovely wistful summer serenade? Who are they to resent a band's attempts to branch out? They're not even bad!

But again, this is but one person's take. I feel it may be wise not to go looking for other people's rankings in case this is the norm and not the outlier...

#music #the doors #music reviews #bad reviews #I do like other songs by them of course. Summer's my fav while Sunday's the most beautiful in my opinion #but I also really like Peace Frog and Other Side (totally not ripped off by Disney) #and the first one I heard that made me seek them out: Touch Me #and of course The End #my favorite album is the rough 1965 demo one so I pretty much like all of those too by now

[fortune-fatale]

have i ever told you how much i love tv girl

#fortunefatale #tv girl #who really cares #french exit #lonely women tv girl #music blog #music reviews #music lover #music related #tvgirl #loversrock #lovers rock #music posting #tv girl posting

[zeounds]

Introduction

HELLO!

My name is Holly. And I've always been obsessed with blogs. I've always wanted to have one of my own, and have tried many different formats, but my biggest issue is my uhh commitment. So I'm going to FORCE myself to be consistent here because uhh it's fun, and I love music.

If you remember my last poor attempt at this, don't. I talked about owning 65 different albums. Now I own 95. So I've collected 30 more in 7 months. That's not too bad. I don't think.

Anyways! I'm aiming to do like at least one a week? Thats probably not realistic and may be inconsistent, but like it's something to do on a Sunday evening.

Please enjoy. And uhh leave your opinions on the albums I listen to because talking about music is cool guys😎😎

#music #cds #music reviews #personal blog

[allmusicmondays]

MUSIC MONDAYS PRESENTS…

SOUNDCLOUD SUNDAY: VOLUME 105

THE ONE-HUNDRED AND FIFTH EDITION OF OUR WEEKLY SOUNDCLOUD PLAYLIST.

STREAM: on.soundcloud.com/5cQrym7k8bYP2d…

CURATED FOR THE UNDERGROUND BY THE UNDERGROUND.

SUBMISSIONS OPEN EVERY WEDNESDAY.

FEATURING:

@ariiincolur

@xAVXiDx

@Satyrnn_

@alwysmth

@vicklejet

@mikeytrademark

@HALLOWEENONTOP

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DJ JAW

Reefer

KILLXERO

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Onek

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@azr6el2

@grapesremixed

@TONEDEAFSOUND

@thejayded

Curated By: @Zomb_Slays @wtrflls & @BOOTIEJESUS

Art By: @sixtythree666

All Audio Platforms: anchor.fm/allmusicmondays

Make sure you visit our homepage here: allmusicmondays.com

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#underground music #music monday’s #music blog #music #youtube #underground #underground podcast #podcast #new music #music reviews

[coffeejoshy]

What a kooky, inane and captivating addendum to her triumphant album release earlier this year - Dang is Caroline at her purest, a cherry on top of an impossibly good cake.

Playlist:

#music reviews #new music #soty #2023 music #alt pop #art pop #caroline polachek #dang #desire I want to turn into you #Spotify

[mist-spectra]

Many thanks to Mutant Zones blog, for his kind short review about Ringu リング. Check out their reviews and excellent blogger! regards

#review #music review #experimental music #blog #music reviews #mutant zones blog