| >> | No.48387618
>>48387107
Arctic Monkeys’ fifth record is absolutely and unarguably the most incredible album of their career. It might also be the greatest record of the last decade. It’s not, however, the work of a band operating at their absolute peak – that’s yet to come. It’s the work of a band still growing, still fine-tuning, still learning and still experimenting; a band who will not look back on this record as a career high, but as the moment they stopped being defined by genre and instead became artists. Not a rock band, definitely not an indie band, but artists. Think Bowie, think The Beatles, think Stevie Wonder and think Bob Dylan. From this point on, Arctic Monkeys can do whatever they want, sound however they like, and always be Arctic Monkeys. But that’s all for another day, sometime in their stupidly bright future. For now, we should celebrate this record for what it is – 41 minutes and 57 seconds of near perfection.
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| >> | No.48387699
>I feel like this record was made just for me by super-smart aliens or something, because it's just like a cross of 1971 and 1987. Imagine, like, Peter Gabriel with batwings or a flower on his head singing while Lars Ulrich and Rick Wakeman just hammer it down. It's the best Tool record because it's the longest. All summer I worked at Gadzooks, folding novelty t-shirts, and on each break, I would listen to Lateralus because the store just plays hip-hop and dance. My manager would always get on me for taking my breaks 20 minutes too long, but that's how long the album is and it just sucks you in. It's like this big desert world with mountains of riffs, and drum thunderstorms just roll across the sky. The packaging is also cool, since it has this clear book with a skinless guy, and as you turn the pages, it rips off his muscles and stuff. Tool's music does the same thing. It can just rip the muscles and skin off you. I think that's what they meant. So my manager would be like, "Hey, there's a new box of 'Blunt Simpson' shirts I need you to put out and the 'Original Jackass' shelf is getting low." He's a vegan and I would buy him Orange Julius because he didn't know there's egg powder in there.
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| >> | No.48387716
>>48387699
>The first song is called "The Grudge," and it's about astrology and how people control stuff. Maynard sings like a robot or clone at the opening, spitting, "Wear the crutch like a crown/ Calculate what we will/ Will not tolerate/ Desperate to control/ All and everything." Tool know about space and math, and it's pretty complex. "Saturn ascends/ Not one but ten," he sings. No Doubt and R.E.M. sang out that, too, but those songs were wimpy and short. Maynard shows his intelligence with raw stats. I think there's meaning behind those numbers, like calculus. He also mentions "prison cell" and "tear it down" and "controlling" and "sinking deeper," which all symbolize how he feels. Seven minutes into the song, he does this awesome scream for 24 seconds straight, which is like the longest scream I've ever heard. Then at the end there's this part where Danny Carey hits every drum he has. This wall of drums just pounds you. Then the next song starts and it's quiet and trippy. Tool are the best metal band, since they can get trippy (almost pretty, but in a dark way) then just really loud. Most bands just do loud, so Tool is more prog.
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| >> | No.48387872
>>48387816
>And, as ever, Richard D James's pockets are bulging with goodies; 30 tracks and 100 minutes ranging from whipcracking drum'n'bass to the most delicate, early 20th-century-style classical piano interludes. Aphex addicts will fall on them like, well, drugs. The yet to be hooked may be put off by the album's forbidding length and deliberately impenetrable song titles; 'Kladfvgbung Micshk', 'Afx237v.7', 'Gwety Mernans'.
>Yet even experienced continuously end to end, 'Drukqs' is not a difficult listen. Punctuated by piano interludes which sound like Erik Satie, it ripples and eddies through whip-smart intellectual techno, gibbering drum'n'bass, early-90s rave and, on 'Btoum-rounada', what sounds like a team of bellringers attempting a backwards version of 'Silent Night'.
The score doesn't really matter. What matters is that this reviews make me feel ashamed to like this album.
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| >> | No.48387960
File: 39 KB, 400x396, pitchfork founder.jpg [Show reposts] Image reverse search: [iqdb] [google]
 >We was sittin' there watchin' the stage. Waitin' for the man they called Coltrane to come out and do his thing. It was me and my four droogs. Them bein' Peter, Georgio and Dim; Dim being really Dim.
>'Round an hour'd passed and the place was packed straight through to the back. I'd just dropped some dollars for 'Trane's Giant Steps six months back. Now was the time, this was the place. The Village Vanguard. New York City. 1961.
>I was only there for the first night, see, but them cats at Impulse! just made my life complete. They put out four CDs of all that sound 'Trane put out those nights. But you know my type, man. Can't afford to eat, let alone spend some heavy cash on music. So I only got the essential. Live at the Village Vanguard: The Master Takes is one disc, makin' it one-fourth the cost of the box set. And you only get the best stuff.
>Man, the opening beauty of "Spiritual..." It's like a dream I had: I floated on the River Nile, smokin' some fresh weed, relaxin'. But I ain't ever gonna see the Nile anyhow. This track's as close as I come, and it's close enough. Best of the best, though, has gotta be "India." It's only when you listen to a perfect old jazz tune like this that you realize how much drum-n-bass is derived from this music. 'Trane takes it to heaven and back with some style, man. Some richness, daddy. It's a sad thing his life was cut short by them jaws o' death.
>Shit, cat. It don't make a difference. The man produced enough good music to last me a lifetime. This Village Vanguard thing's just another example of the genius of Coltrane.
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| >> | No.48388400
>>48388116
> Still, I'm all about giving credit where credit is due, and I must give Ulver points for variety. According to their website, Rygg and Yiwizaker hail from the Norwegian metal scene, pinning Perdition City as something of a departure from their norm. Even among the tracks on the album, the duo tries out a few different styles. Besides the pseudo-industrial tracks, there's also "Hallways of Always," a lame excursion into the world of Casio-based electronics, and "Porn Piece or the Scars of Cold Kisses," which takes a stab at bad adult-contemporary balladry and disguises it with Casio-based electronics.
>Who knows? Maybe Perdition City was nothing more than a well-intentioned but ultimately ill-advised experiment for these guys. Maybe, in their more traditional form, Ulver is a really solid metal band. If that's the case, well, you can't blame a band for trying something different. That said, Ulver might want to consider a return to their metal roots. If I want to hear something creepy, I'll stick to the real thing.
Holy shit, this guy seriosuly doesn't know who Ulver is. They never even reviewed other albums. Why do people read reviews? They are just other random people's opinions. I don't understand how certain review websites can actually hold merit and influence listener's opinions...
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