Mag Bay’s synthpop sci-fi opera deserves all the praise it’s getting.
“A collection of profound and epic album reviews and musical articles by former astronaut and brain surgeon, Alasdair Kennedy. Reaching levels of poetry that rival Keats and Blake, the following reviews affirm Alasdair to be a prodigy, a genius and a god whose opinion is always objectively right. He is also without a doubt the most modest man in the universe.” - Alasdair Kennedy
Showing posts with label psychedelic. Show all posts
Showing posts with label psychedelic. Show all posts
Monday, 2 December 2024
Monday, 6 March 2023
Tuesday, 20 July 2021
Review of 'Daddy's Home' by St. Vincent
St. Vincent’s new serving of 70s psychedelic sleaze somehow manages to be excitingly fresh. In fact, it’s one of the most exciting albums I’ve heard this year.
Wednesday, 24 March 2021
Review of 'On All Fours' by Goat Girl
Peckham post-punks Goat Girl deliver lots of creative ideas on their latest album. There’s even a Sellotape solo.
Monday, 3 August 2020
Wednesday, 25 March 2020
Tuesday, 31 January 2017
Review of 'Oczy Mlody' by The Flaming Lips
Whilst not quite the psychedelic mindfuck that 2013’s The Terror was, The Lips’ latest record is still enjoyably and reliably bonkers.
Wednesday, 27 April 2016
Monday, 29 February 2016
Saturday, 12 September 2015
Review of 'Miley Cyrus & Her Dead Petz' by Miley Cyrus
That's it. I’m throwing my
Hannah Montana DVD box sets in the skip. Who does this outrageous woman think she is, poisoning the minds of children? Does she not think of the children? WILL NO-ONE THINK OF THE CHILDREN!
Saturday, 25 July 2015
Review of 'Currents' by Tame Impala
Aussie psychedelic rock band, Tame Impala, have traded in rugged
guitars for shiny synths. The result is a sound somewhere between the Blade
Runner soundtrack and those glossy eighties power ballads that I could always
picture myself driving down a highway to at night if I could afford a car and
hadn’t failed my test five times, but anyway we’re getting side-tracked.
Wednesday, 3 June 2015
Review of 'AT.LONG.LAST.A$AP' by A$AP Rocky
New York emcee, A$AP Rocky, has become one of the more prominent
names in the trap rap scene largely for his quirky metrosexual fashion sense
(remember that time he once wore a skirt) and his banging selection of beats (the main appeal to
me). When it comes to his actual rapping ability, there's not much to separate him from others in the game. His flow is adept and he’s a lot less annoying than some of his autotune-warbling contemporaries, but at the end of the day he’s just another
dude spitting about money, drugs and bitches (which is fine if you’re not a
lyric snob like me).
AT.LONG.LAST.A$AP
sees Rocky taking influence from trip hop and ‘old 60s psychedelic shit’. At 18 tracks, it’s not the most concise
album in the world, but it does manage to keep up the pace. Arguably, the best
tracks are left until last. ‘Better Things’ might just be the prettiest here,
swiftly followed by the hardest track ‘M’$’, that’ll make you want to fix your
car with hydraulics. ‘Everyday’
meanwhile features a killer boom-bap beat courtesy of Mark Ronson, plus vocal
features from Miguel and – of all people – Rod Stewart (although I’m pretty
sure it’s just a sample).
Me whilst listening to 'M'$' |
Altogether, the album relies hard on guest performances.
There are lots of names to gawp at. Many disappoint – I knew I’d find M.I.A.
and Future’s verses annoying, but I expected more from Kanye who spends his
bars rhyming the same word with the same word: ‘sometimes the best advice, is no advice, especially when it’s your
advice’. Lil Wayne is the only surprise here, laying down a killer verse on
‘M’$’. Like his performance on the recent Tyler album, he proves he can
actually ride a beat instead of delivering the slurry nonsense we’re all used
to.
I’m yet to research into who exactly Joe Fox is, but he
seems to contribute the most guest performances on this record, largely
bringing the ‘old 60’s psychedelic shit’
influence. Four tracks feature folksy-sung hooks from him. They feel like something
Eminem might do, except without the cheesiness that was all over The Marshall
Mathers LP 2. In fact, Joe Fox’s recurring appearances seem to give the album
the motif it needs, stopping it from becoming a jumbled mess and giving it all
a sense of cohesion.
I Googled 'Joe Fox' and a picture of Tom Hanks came up. I am none the wiser. |
The album ends with perhaps the most poignant of all the
guests – a spoken section from Rocky’s recently-passed mentor, A$AP Yams. For
me this is one of the best tracks here, not because of sentimental value, but
because Rocky really seems to be rapping his ass off on it. It’s the only real
song where Rocky sounds like he’s pushing his ability, and not simply cruising.
Maybe we can expect more of this in the future. For now, the beats are still
the clincher.
★★★☆☆
TRACK TASTER:
Saturday, 24 January 2015
Thursday, 25 April 2013
Review of "The Terror" by The Flaming Lips
Psychedelic rock
band, The Flaming Lips, have always had experimental tendencies. But this album sees them venturing onto a whole new plain of reality.
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