PITCHFORK HANA VU SERIES

PITCHFORK HANA VU SERIES

#todaysalbumcovers /AVlOUHEUzv- ⤤ The Sweet Snob ⤦ JanuBEST Themed Series of Covers – Cue Dot Records I can't honestly say Dragony's album cover released today for 'Viribus Unitis' is good or bad exactly, but I AM saying it's so batshit insane that I would DEFINITELY play it if it were an iPhone game. I still don’t love it, but I was able to enjoy it this time, instead of completely dismissing it. Now I’ve also listened to MUCH MUCH weirder music than I had in 2007 and it doesn’t sound quite as out there anymore.Įven this dazed article calls it her “weirdest album”, which, was it even in 2017? Even in 2005 she had made the MUCH weirder Drawing Restraint #9.

Listening to it now, I can hear the ways it was ahead of its time, and was influential. Also, songwriting-wise it just didn’t seem like the ideas were there. It was less grounded in traditional music than most of her albums and just felt like a pastiche of some of the weirder and harsher moments in Post and Homogenic. When Volta came out it seemed like she was a little out of ideas, and just being weird for weirdness’ sake. Even though Medulla was a little bit of a rough listen, I really appreciated what she was doing to innovate here. I knew every word of every one of her albums. I definitely appreciate it more today than when it came out.īy the time it came out I’d been hanging on Björk’s every word for years. Revisited Björk’s Volta for the first time since it came out today.

It’s definitely worth watching the two great music videos she’s put out in support of the album, especially “Hiding Out in the Open”, where she does some extremely clever green-screen trickery that gets more funny and inventive as the song goes on. Its songs are standing out more to me than the songs of Metals and Pleasure, but I’m not quite hearing anything I’d put on the “driving playlist” yet. Listening to Multitudes I am definitely enjoying it. The words of her songs never added up to something I’d return to. The Fleet Foxes songwriting over the years always kept me coming back, but I always felt like Feist was slipping away from my understanding. I must admit with each passing Feist album since The Reminder, I have listened less and less thoroughly as they’ve seemed more meditative and their themes less easy to understand.įeist’s incredible keening voice is like no other, but it was always her funny, relatable songwriting that brought me back. Her early song “Brandy Alexander”, comparing her FWB to a rich, sweet cocktail made me want to try that cocktail for years, and by the time I had an opportunity I didn’t want to flood my system with all the lactose. Her songs were always simple, funny, romantic, relatable, and tragic to me. I’ve long loved Feist, and her first two albums Let It Die and The Reminder are all-time classics in my house. I’m finally getting a chance to listen to the new Leslie Feist record, Multitudes. he says that its 33 minutes are designed to be listened to in one go (which I am currently doing) hence why he smashes every track together into one, and ends it with a gentle harmony with his wife of decades, “Amen”. It’s definitely unlike any other Paul Simon album though. In any case, it’s a mellow, humble thing, not a giant, crushing, ambitious work like Blackstar. If he actually kicks the bucket in the next few months, the comparisons will be inevitable. People are of course comparing this to recent “final albums” like Bowie’s Blackstar and Cohen’s You Want it Darker.

I’ve always had an appreciation for Paul Simon, who has had several eras of relevance: several Simon and Garfunkel albums with several monolithic hits, his fun solo hits from the 60’s and 70’s, the way Graceland was so widely loved and then kind of disdained in later eras for his use of African music, I still remember thinking “You Can Call Me Al” was hilarious when it came out. It’s nice to see her singing the writing of an ultimately stronger songwriter. I’m actually a fan of hers, and she’s continued to make music in the last decade, although none of it has really captured me. I was curious if his wife, Edie Brickell’s voice would appear at all, and, sure enough, in the final half, it does. It almost feels like a Sufjan Stevens album: spare, pretty, plaintive, faithful. I wasn’t expecting a 33 minute, single track Paul Simon album contemplating death, but Seven Psalms is definitely worth a listen.

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