Two articles ago, you might remember how I mention that I’ll publish a very concise set of reviews in the beginning… before I forgot about it and focus on doing an Under the Label article instead on Queercore. Now, I finally decide to do something about it. This will contain around 20 or so albums that I have originally thought of reviewing in full, but have either forgotten about it or have not found the motivation to push through with it. Come to think of it, maybe I should do a bit more writing more often – it might not always be reviews unlike last year because there’s so much you can do from commentary before it gets tiresome.
Besides, I would like to try and write a bit more on eSports. In fact, I’m thinking a lot more about doing some casual writing on some historical figures or look at the modding community in certain games like Skyrim or Crusader King III. It can get a tad bit boring to cycle through the same routine of reviews & genre-based article when you feel like you don’t really have much else to say about the new albums that is unique. Maybe that’s one of the main reason why I’ve struggled to find anything to write about that’s truly worthwhile since March. Writer’s block can be chronic which is a bummer to break out of.
Nevertheless, I’m excited to say that I have a flurry of ideas to tackle over the next few weeks to months now that I’m done with university (and with that, the need to find employment for once). First, I’m feeling a lot more motivated than ever to write an Under The Label article about one of Brazil’s most acclaimed genres in MPB. Another point is that I want to explore more of bandcamp as the alternative to RateYourMusic or SputnikMusic when it comes to finding new music, meaning that I would push GutterPutter in a direction that caters even more toward obscure musicians and artists. Lastly, I got an idea in my head regarding eSports and that is from doing a write-up on the premier Dota 2 tournament – The International.
King Gizzard and The Lizard Wizard – Omnium Gatherum (22 April 2022)
‘The Dripping Tap’ is a prog-psychedelic lightning bolt for the starting track that the rest of the album fails to capture the same zeitgeist as it does. Fans are going to go on a field trip for this one, but it might not match up to some of the band’s previous efforts. It can feel a bit hard to wrap your attention around. (3.4/5)
Fontaines D.C. – Skinty Fia (22 April 2022)
It rocks well, but it simply doesn’t catch my ears the same way that certain contemporaries do – even on parts like choruses or otherwise a certain wittiness with language. That being said, I do like ‘Jackie Down The Line’ as it rings a distinctively British charm that is seldom felt since the Smiths or Pulp. (3/5)
Nilüfer Yanya – PAINLESS (4 Match 2022)
It rocks well, but it doesn’t rock hard enough to wow me non-stop or even make me find it catchy. Pass, but props for inciting a certain impression that’s rarely felt since Radiohead. (1.8/5)
Kendrick Lamar – Mr. Morale & The Big Steppers (13 May 2022)
It’s a hodgepodge of both avant-trap takes that isn’t his wisest of observations & some theatrical damnation of African-American communities’ plights. ‘The Heart Part 5’ isn’t in the album so skip if you want some classic conscious hip hop, but stick if you’re interested in seldom-explored subject matters like domestic abuse in ‘We Cry Together’ or transgenderism in ‘Auntie Diaries’. (3.5/5)
Billy Woods – Aethiopes (8 April 2022)
Bars after bars straight out of Modernist poetry with drumless beats akin to a certain veteran named Ka. For fans of abstract hip-hop thanks to all its cryptic bars and unconventionality, but even some of the more casual listeners could find a gem within the list of verses in each track. (4.1/5)
Perfume Genius – Ugly Season (17 June 2022)
It’s a lot of weird noises. & not a whole load of interesting peculiarities. I can’t say for sure that I’m a big fan of the artist’s work, but I do admire the avant-garde mix with chamber instrumentation. (2.2/5)
Zach Bryan – American Heartbreak (20 May 2022)
As country as country gets, it’s nice yet teeters into its mundane tropes without a lot of spices to make it a treasure to behold. Listen if you don’t mind a simple-hearted country, bail if you want some diversity within the genre. (3/5)
Gospel – The Loser (13 May 2022)
An equivalent to an ambitious shriek into darkness. It might not be for everyone, but the energy is bafflingly amazing to behold. The organs will continue to rain down as does the guitars and the drums, but the ultimate selling point would be the vocal performance with its maniacal delivery which is alike to La Dispute. (4.2/5)
beebadoobee – Beatopia (15 July 2022)
It’s a pretty pleasant listen as an indie/alternative rock album. Aside from that, there’s not a whole load of interest to garner around for all its attempt to balance out bedroom low-fidelity with the grandeur of chamber pop. It’s, to say it nicely, indistinctive. The voice is nice, the instrumentation is nice, and the production is complimentary. What it lacks a whole load of is a certain personality that sticks out well. (2.9/5)
Conway the Machine – God Don’t Make Mistakes (25 February 2022)
Introspective conscious hip hop that deals with the tragedy of crime with all of its warts intact. With beats that is straight out of the 90s, the record doubles as a homage to the grittiness of the street life on top of its paradoxical condemnation like Tupac or Kendrick Lamar. Fans of the genre could get a nice kick out of it if they like something that teeters more to the older days of rhyming. (3.8/5)
Daniel Rossen – You Belong There (8 April 2022)
There’s a certain magic to be discovered with its cacophonies of violins, acoustic guitars, & echoey production. Fans of Grizzly Bear or of generally grand music would enjoy it, but it’s not one that I would geek out about for all its sophistications. (3.4/5)
Drake – Honestly, Nevermind (17 June 2022)
Never mind indeed. Derivative garbage. (0/5)
Birth Day – Boyhood (10 June 2022)
Lo-fi slowcore so it’s pretty similar to Duster’s Together just a few months ago. I don’t have much to geek out about as it’s too down-tempo & too fuzzy as per say even as a fan of slowcore & the vocals is hard to make clear. If there is one compliment to be made, ‘We’ve Run Out Of Water’ is a shrill that catches you off-guard in the end & never let go of its melancholia. (3/5)
Denzel Curry – Melt My Eyez See Your Future (25 March 2022)
Denzel’s back at it again with a series of hard-hitting verses, a colourful array of beats for his songs, and a certain introspection that reflects a part of the African-American diaspora. I would especially like to mention that ‘Walkin’’ is among one of, if not, his very best songs for its soulful production in the backdrop against some of his slickest flows. Props to him for being consistent after all those years! (4.2/5)
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