i was trying to upload this all day yesterday but it kept getting blocked. hopefully there are no more issues with it! sorry if there are any weird jump cuts/edits.
I’d describe this album as journeying through the seven wonders of the world. An album fit for some adventurer traveling and bustling down in hostels. It’s warm and light like the sun and has a wildlife and primal soundscape. With spanish melodies, bagpipes, and a balalaika, you feel like you’re getting to fly through the air to different parts of the world from one song to the next. Excavating our bones, basking in the sun, and viewing the smoke floating over the volcano give me such strong visuals.
This album gives me jungle vibes/ different parts of nature, so in that respect it feels pretty cohesive bc it feels like I’m traveling. The album art looks like she’s on a plane with sand so there’s that too
single wise, sunset, billion and blood and butter is just TOP TIER non singles, my favs are crude drawing, i believe, fly to you, butterfly net, smoke also, billion is a PERFECT closer i would say this album is way warmer than pang, even the visuals use warmer tones i think i believe reminds you of 2000s or 1990s j-pop. last thing, fly to you reminds me of little star by madonna, which is one of the best madonna songs
Loved the reaction! She said that Crude Drawing of An Angel was her attempt at a vibe of music that she loves, which she calls scorny music (scary and horny). She also said that she made a scorny playlist and i'm gonna need her to drop it honestly
I Believe also reminds me of a song I can't place! I hope someone identifies it. Also, I *knew* you'd come around with the cohesiveness as you kept listening! 😂 It's been so much fun getting to know this record. At first listen, I didn't feel that any of the songs really stood out over the singles we were so acquainted with. I definitely blame that on familiarity because now I get little melodies from *every* song stuck in my head daily. Hourly, even! This album is non-stop memorable melodies, fun vocals, crisp, gorgeous production. She keeps getting better.
honestly the perfect album 🥹🤍 and i agree so much with what you said ab billions... the gods were with her in the studio when she was making this track bc HOW CAN A HUMAN BEING MAKE A SONG LIKE THIS??? either that or caroline is a siren fr 🫣
crude drawing of an angel feels like i’m walking through a foggy forest at night with a full moon and i keep hearing sounds around me but i try not to acknowledge it
I described 'Drawing of a crude channel' as sounding like a ice cavern. I think thats a good representation. EDIT: It also gave me Bjork's Medulla vibes.
That falling synth line you were talking about in I Believe really reminds me of the song I Walked by Sufjan Stevens!! That's kind of obscure tho so you might have been thinking of something else 😭
I know you likely get tired of all the suggestions you get......but I'd love to see your reaction to the album "I Could Live In Hope" by Low. I love your videos, they've made me listen to some stuff I probably would have overlooked otherwise. Thank you!
Oh yeah have to add that obsolete Brooklyn hipster dads who write for Pitchfork are in a small world NYC circle…if they’ve played at baby’s alright they are prob in some way in the network of the small world circle…so it would be awkward af for such a local reviewer to “bad mouth one of their own”…the pitchfork score is no surprise. They wouldn’t be able to mobilize or circulate themselves without some level of social circle discomfort or ostracization in wanting to stay in the “good graces” of this network-as-net-worth small world circle. That’s why their reviews read…exactly that way.
Pitchfork has also given Tool a 1.9; especially since their acquisition by Condé Nast they have no clue what they’re talking about. There is a real, serious problem with music reviews these days. The entire scene CP is in along with Sony engage in social signaling (industry circle jerking)-they’re scenesters causing a scene to be seen, that is their manipulative desire. It centers around the producers (Danny L Harle in UK and Jack Antonoff/Dan Nigro/Max Martin/Daniel Lopatin in US). It is encoded aesthetic signaling where you just want to be seen as someone who listens to such music. Lopatin/Polachek have the audacity to refer to Lilith fair artists as CVS-core cringe whilst borrowing from them freely or as if CP’s vocals can top Celine or Sarah’s. They did not include Dido in their CVS-core enumeration since she has a feature in the album but it’s pretty obvious Dido gets drugstore plays. Sarah McLachlan is associated with ASPCA but if you shed those associations of it, the music itself is stunning, truly genuine, transcendent, resplendent and heartfelt storytelling in ways CP can only hope to emulate. CP claims finding your own voice would make you go crazy yet so many artists actually have…and actually pioneer their style…whether it’s instrument or vocals…it’s just a cop out and excuse for borrowing heavily from Frou Frou (Caroline donated to/paid Imogen to cover her song door in Imogen’s marathon promoting her tech invention/tool, it is mentioned in the full length marathon on Imogen’s RU-vid not the edited version of just the cover which CP Stans want to take out of context/misconstrue). CP stans also have the audacity to diss the original artists she steals from claiming she’s better in an effort to make her creative theft acceptable. Even CP’s “mmm” sounds in her songs make me laugh, it’s trying to be quirky r&b with d&b, they do not compare to someone like Kelela (who does it better in Raven album). You can tell CP Stans don’t have ears to appreciate real music and are only at concerts because fashion mags wrote all about it, because they will talk during the quietest song (crude drawing of an angel) and erupt in applause at the start of a bagpipe solo instead of letting the solo play out first. The group calls themselves open/minded but they are the most provincial and narrow minded if they can’t disassociate Sarah McLachlan from the fact that the ASPCA or CVS uses her music. They, of anyone, self-admit to an incapacity of liking music for the music rather than what it does for your image. The whole music industry needs sonic cringe exposure therapy. Lopatin himself is an ersatz William Basinski but prominent figures in music especially men, propelled his career. Meanwhile his music is unlistenable pretentious noise. His 2020 album claimed to be like switching through the radio but is no different from any of his prior albums which are just pretentious noise (understandably it can have a place in a movie OST here/there but to listen to???). Not to mention Sega Bodega’s false narrative about how sunset came to be is hilarious trying to craft an aura around their artistry when clearly they just had Claudia Leitte’s Amor Perfeito cover in their brain. Lopatin just like Polachek are cringe themselves, trying to gatekeep cringe, but have had decades long strong industry connections from the beginning, since the Apple commercial (Apple, BBC, Spotify pretty much just work for Sony). Hyper pop wants to be ironically sincere so badly that they deride artists who are simply just sincere like Sarah McLachlan, Celine Dion and Suzanne Vega whilst taking from them (Vega’s influence is pretty obvious). “The average Pitchfork writer doesn’t appear to care about music at all; they seem only to care about what the music they like and dislike might say about them. The Rosetta Stone of Pitchfork is the publication’s 2021 piece in which its writers went back and re-scored old albums. This is an act of almost impossible self-obsession on its face, but it’s the method that’s really telling: in many of the listed cases, they didn’t even pretend to adjust the score based on the musical quality of a given album itself.” freddiedeboer.substack.com/p/pitchfork-and-the-death-of-things
