Listening to Seven Albums a week and Writing About Them. FEB 26-MAR 4)
Nine Inch Nails — The Downward Spiral
This album lets loose. It’s abrasive and feels like even the artist doesn’t have much control over how wildly this thing flows. The vocals are delivered quite dramatically which adds to the infectious intensity. This really is the soundtrack to some antihero or villain. The distorted guitar solo on “Ruiner” may be my favorite part of the album on the first listen. I can’t really think of any flaw in this. It does what it wants to, and more.
Slipknot — Slipknot
This album is more abrasive and nonsensical. I generally like the ideas and performances that my metal brings. My recent first listen to System of a Down’s Toxicity somewhat prepped me for listening of Slipknot’s debut. Lots of screams but it’s an appropriate energy. I mean, look at these masks, something aggressive had to be done. Corey Taylor, the lead singer, isn’t just a scream machine though. He actually has a sort of sweet mid-voice sort of built for an ordinary alt-rocker. It’s incredible how transformative his voice is. The instrumentation is punchy and varied. The drum work is powerful and the occasional DJ scratches add some flare. There is a time things feel a tad forced to the point that is a bit corny, but it comes with the territory of doing too much. Some songs sound a bit too similar to each mother. Other than that, it’s a fun ride.
George Clinton — Computer Games
This album is so weirdly expressive. Like, very few people would dare to make “Pots Sharing Tots,” a wonderfully performed but lyrically off-putting song. Clinton’s character is the critical purveyor throughout these seven songs. It’s a soul-funk tirade full of the freshest ideas at the time. It feels as though Clinton is your amusement park tour guide a la Willy Wonka. He feels like an extremely talented yet untrustworthy narrator. At some points, he doesn’t feel real. I went on a lot of weird tangents here, but this is how I genuinely feel. Maybe it’s because of the vocal layering and arrangements. Regardless, we can thank George Clinton for providing Snoop Dogg’s his samples, along with being an absolute legend, of course.
Young Nudy — Gumbo
He still hasn't reached the highs of NudyLand, but this is another solid offering from the East Atlanta rapper. His personality is as infectious as ever on these tracks. Pretty weird that the song with 21 Savage is outright the worst.
Lil Keed — Long Live Mexico
R.I.P. to Lil Keed. In this project, he brings out what I loved about early Young Thug. His undeniable falsetto delivery is what really grabbed my attention throughout. Despite sounding so much like his label head, he didn't fail in letting know who he was.
Kali Uchis — Red Moon In Venus
There is nothing outright disappointing about this LP. Uchis knows what works for her and she sticks with it. “All Mine” swept me off my feet the first time I heard it. “Endlessly” had the same effect as well. I used to think Uchis for more of a playlist artist, but the little details added to the tracklist helped.
Aphex Twin — Richard D. James
This is a beloved masterpiece among IDM lovers. It is pleasantly weird and distinct. It has nice calming moments as well. This album is a showcase of how Aphex Twin pushed the boundaries of sound.
