Another day, another set of capsule reviews I’ll be getting ready to type up to try & add a few more records into the list of albums that I’ve reviewed for this year. The typical thesis behind the use of capsule reviews still stands as they’re made up of relatively shorter comments (a paragraph to be exact) on the albums that I’ve listened to over the course of the few months that I’ve yet to written a full review on. Some I may struggle to articulate my opinion well enough to warrant a full commentary, others I may not have enough time to write on without missing out on an ad-hoc write-up on an anticipated release, a handful I consider to play around its simplicity. Regardless of the length, the rating that is weighed as equally as the longer pieces – I simply try to keep it as brief as can be.
Yola – Stand For Myself (30 July 2021)
It may not be the most poetic, nor is it the most dynamic in its musical direction or overflowing in its sentimentality. What it does possess however is the potent singing of the artist herself who, now running her career as a singer for more than 20 years, shows both the breadth of emotion that can be expressed & the depth of how she can manage her vocal performance. A late bloomer to the mainstream media since her breakout in 2019 with numerous Grammy nominations for Walk Through Fire, the amount of expression that she can pack in is impressive to say the least. The best pieces of the album stand on the prowess of Yola’s voice to the point of giving Adele the run for her money. Listeners with an artistic sensibility may find themselves disappointed in the lack of innovation or imagination, but an everyman might find themselves enthralled by her like no other can. 3.4/5
black midi – Cavalcade (26 May 2021)
Simply put, one of Britain’s most hyped-up bands in the post-punk scene has gone wild in their sophomore record by refining their maniacal playing with the canvas of avant-prog. What it ends up birthing is one of the definite high standards of this decade with some reminders of a certain musical giant in King Crimson without an overt adoption of their character. The distortion is there, the unorthodox timing still remains, the finesse of the drumming is apparent, the expansion is all the apparent & for the best. Fairy tales were spouted with a touch of madness for the main lyrical theme as cults were formed, fortunes & fame were lost & many fall far to being a husk of their former selves – some through Promethean manners. May I commend ‘Ascending Forth’ for being one of the most splendid final tracks I’ve ever listened to in a long while for its tragically Gothic storytelling that reminds me well of Mary Shelley or the vagueness of Kafka’s dystopia. It’s by no means easy to listen to, but it is among the most daringly crafted works in the scene. 4.7/5
The Mountain Goats – Dark in Here (25 June 2021)
The passion project of famed singer-songwriter John Darnielle continues to stick to his gun in his most recent output – that being a simple folk rock record that’s bound by his literate lyrics & a foreboding concept that drives the album. In this case, it’s that of death & personal intrigue with the biblical ‘Mobile’ or the eulogy in ‘Arguing with the Ghost of Peter Laughner About His Coney Island Baby Review’, still retaining the wit & magniloquent writing that is the main selling point with little elements to make it go far & beyond. Devoted fans of the band are going to consider this as a welcome addition to the canon of albums, but most are better off with the old output like All Hail West Texas or The Sunset Tree to witness Darnielle at his most potent. 3/5
Adjy – The Idyll Opus (I – VI) (30 June 2021)
I have not heard of this band before & I haven’t done the research into their background nor have I dived into their first album 8 years ago at the time of this writing. What props I can give to the sheer ambition of this album, I find myself being distracted by the male vocal performance of whom I feel reminds one more of a Midwest Emo singer than a more prog-based work. The production adds to the bombastic nature of the album for better or for worse depending on the tracks you listen to & it can verge on being too sentimental for its delicate orchestration. It’s a record that I quite like, but am not entirely in love in. What I can’t rule out on is the grower potential & with enough time, maybe there is a hidden treasure in it that might hit you harder than you expect it. 3.1/5
Tyler, the Creator – Call Me If You Get Lost (25 June 2021)
Ever since 2017, Tyler, the Creator is on an upward trajectory as being one of hip-hop’s best artists with his talent at resonating to others around his personal lyrics being realised. In this instance, Tyler confirms his bisexuality in the concept album that’s around his failed pursuit of a relationship in spite of all his newfound glory as a big-name in the scene. It’s more en-route to his rapping skills than it is in focusing on his neo-soul inspirations in Flower Boy & Igor, but the braggadocio of the first half of the album may come off as being annoying to some who would prefer the confessionalism of his last few projects. Nonetheless, the beats is as fresh as ever with all his West Coast inspirations being mixed up with the soul experimentations to provide an emotive breadth to it. His rapping strays from the Eminem-like horrorcore that makes him divisive in his early years to blossom into a mature, introspective showing of both his success & his pitfalls while he retains his deadpan delivery. When the self-reflection shine through like in the heartbreaking epic that is ‘Wilshire’, it’s only a matter of time before we remind ourselves of the humanity underneath all our winnings. 4.1/5
girl in red – If I Could Make It Go Quiet (30 April 2021)
Hyped up as being a potential contender of being one of pop’s biggest singer-songwriter alongside Taylor Swift or Ed Sheeran, Norwegian musician Marie Ulven Ringheim starts the storm with a twist of LGBT+ representation. While fans of the musician are in it for the treat, I can’t help but feel let down on the hype as the work feels largely alike. The lyrics got a catchiness in its hook, but it’s not flowery in its language & its attempt at trying to reach for feelings can feel superficial. The instrumentation doesn’t have a certain energy, intellectual edge or charisma that makes it go beyond your typical indie rock record, but at least it doesn’t feel unintentionally shoddy. My main point of disgruntlement though is on the production as it feels like an instance of all style & no substance like in ‘body and mind’. I can give props to a handful of moments when ironically enough, it does feel like Ringheim just gives in to making simplified love songs. ‘hornylovesickmess’ is one track that I would listen to every now & then. Aside from that? Mostly an uninteresting piece with a few bits of overproduction that can make it a grind to listen through. 2.2/5
Dave – We’re All Alone in This Together (23 July 2021)
One of Britain’s recent lyrical geniuses had once again hit another impressive demonstration of his talents in his second album with some anecdotes being on heartbreaks like ‘Both Sides of a Smile’ while others are around social consciousness like ‘Heart Attack’. The beats shows diversity like ‘System’ with some African punch which can make you want to dance as he spouts claims about his riches & the gold diggers that can follow around – not one that I like as much as the production. Granted, the slight monotonous rapping style of Dave (which may have been more to do with where he’s from) may turn off fans of the more dominant US-based hip hop. That being said, once you persevere through that unintended sign of boredom, there are a whole load of gems around his technical wit & damning commentaries that is worth protesting for. Contemporary references can put the album at the risk of ageing badly after the hype dies down, but it’s a rather worthwhile take for the sake of saying what needs to be said. 4.2/5
Quivers – Golden Doubts (11 June 2021)
As far as impression goes, I just find it largely average – mostly to the point of dull, fake cheeriness. I don’t know how to phrase it, but the instrumentation is uninteresting, the vocals you may well have heard of before in another act, the song structure feels like it hasn’t been tinkered well enough, the production too minimal to cast an illusion of worthwhile interest, the lyrics simple to a fault. There’s not else I can nitpick about it & while it’s generally a good point for most albums, this instance is what makes the album so painfully average. At least girl in red can make a song that makes you want to sing with for a while; Quivers’ album reeks of “I already heard of something like this before. Might as well listen to an old favourite that does it better.” & it’s by no means an ideal way to amass some attention. 2.1/5
Lucy Dacus – Home Video (25 June 2021)
Most of the time, Lucy Dacus falls into the same trap that makes Julien Baker’s output rather lacklustre. The lyrics is a definite selling point, but the content within it fails to make you want to hold on to it a while longer, the variety of instruments & intricate production may not add much to the textures of the song, but it has got a slight charm in its role. Its subtle attempt at laying out a modestly transient look into growing up & dealing with past relationships is worth the admiration, but the resonance that should’ve been pulling heartstrings is just not there. Its aspiration I would give props to, but it feels like budget version for Phoebe Bridger’s Punisher which I genuinely like when I listen to it. At least that’s a shadow that’s worth trying to work under. 2.5/5
Skyzoo – All the Brilliant Things (11 June 2021)
A veteran in the underground hip hop scene who is in the works since the mid 2000s, this release is all about him trying to pass down the wisdom to the next generation. There are some some bars that makes me want to take a pause, but if that’s all he has, then is it worth listening to for just that? The jazzy beats is nice & suave, but the adlib can be annoying, the rest of the verses can be prone to being overslept as they failed to reach the contemplations of the highlights & even then, it’s all been said before with no twists to make it unique or even flashy. As for the flow or technicality? It’s smooth, yet it’s nothing to write home about unlike other MCs. I would much rather refer to Mos Def/Yasiin Bey whose skills can turn the head of most subject matters in this album to being more momentous. This one? A pass if you wanted to start conscious hip hop somewhere. 2.4/5
Quiet Commotion – Hallå, Kära Flod! (18 June 2021)
At only thirteen years of age, the artist’s debut may have a lot of rough edges, but at its core lies a substantial amount of potential. Primarily lo-fi with clear inspirations from the likes of Elliott Smith or Car Seat Headrest, the singing can bite off its inspirations more than it can care to chew, but that doesn’t mean to say that the album is derivative. If anything, there’s a sense of childlike wonder that eviscerate this whole project that mirrors that of its youthful creator. The guitar is simple, but nice & the lyrics might show the same sense of being too similar to the artist’s biggest idols. Don’t let that make you consider overlooking the tween’s first project. It’s better than a couple of professional musicians based on passion alone. 3/5
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