Music: Last Album You Listened to and Rate It II

[Shareefruck]

I've been going through many of your favourite albums for quite some time now, and I've got to say the batting average is pretty high. I do remember that you had the Sex Pistols album pretty low before, so I wonder what made it shoot up for you that high. Personally, I'm glad you came around on it since it's one of my favourites.

I gave it another shot based on Amerika's review of it. Hard to pin-point why I changed my mind about it other than my ears adjusting to the way that it sounds. I guess I just found it a tough, piercing listen that, musically, didn't sound that unique and interesting to me. I always liked Lydon's vocals, but found it a little difficult to listen to in Sex Pistols form before, and musically, I was more blown away by other more off the beaten path/avant-garde-ish/minimalistic approaches to punk that had more of an inherently satisfying and hypnotic feel to me, like Joy Division's Warsaw period, Neu!'s forays into punk, or Velvet Underground's White Light White Heat approach to it. I guess I had a bit of resentment that the roots of punk did something that felt so right and instead it turned into something else that got a lot more credit but sounded more like an extreme version of the showy generic rock that I didn't like nearly as much (I still prefer that pulsating proto-punk-ish sound over the Sex Pistols brand of it, btw, but the latter works just fine on its own).

The biggest thing is that Lydon's brilliant vocals went down easier and didn't have the tough/grating trade-off this time-- that changes everything-- and for some reason, the fact that the music wasn't in the style that I preferred didn't bother me much this time.

Hard to explain the sound I'm talking about, but I've always stubbornly wanted punk to sound less like the Sex Pistols (and everything that came after) and more like this:




The playing in Nevermind The Bollocks is good, but on its own, it still doesn't pull me into a psychotic frenzy the way that I expect punk to (and that I do from the above)-- I have to rely on Lydon for that.

 

[Sprague Cleghorn]

I gave it another shot based on Amerika's review of it. Hard to pin-point why I changed my mind about it other than my ears adjusting to the way that it sounds. I guess I just found it a tough, piercing listen that, musically, didn't sound that unique and interesting to me. I always liked Lydon's vocals, but found it a little difficult to listen to in Sex Pistols form before, and musically, I was more blown away by other more off the beaten path/avant-garde-ish/minimalistic approaches to punk that had more of an inherently satisfying and hypnotic feel to me, like Joy Division's Warsaw period, Neu!'s forays into punk, or Velvet Underground's White Light White Heat approach to it. I guess I had a bit of resentment that the roots of punk did something that felt so right and instead it turned into something else that got a lot more credit but sounded more like an extreme version of the showy generic rock that I didn't like nearly as much (I still prefer that pulsating proto-punk-ish sound over the Sex Pistols brand of it, btw, but the latter works just fine on its own).

The biggest thing is that Lydon's brilliant vocals went down easier and didn't have the tough/grating trade-off this time-- that changes everything-- and for some reason, the fact that the music wasn't in the style that I preferred didn't bother me much this time.

Hard to explain the sound I'm talking about, but I've always stubbornly wanted punk to sound less like the Sex Pistols (and everything that came after) and more like this:




The playing in Nevermind The Bollocks is good, but on its own, it still doesn't pull me into a psychotic frenzy the way that I expect punk to (and that I do from the above)-- I have to rely on Lydon for that.

I get what you mean. I also had reservations about Never Mind the Bollocks initially due to a reason kind of similar to what you described. I thought it sounded loud and abrasive just for the sake of it, but I warmed up to it after a while. Lydon's vocals are amazing, and he's probably my favourite singer. His three year output with the Sex Pistols album, First Issue and Metal Box is IMO the best three year peak of any artist (The Velvet Underground and Eno's Here Come The Warm Jets to Another Green World are also in contention). Haven't listened to the Neu 2! album yet, but I Hear Her Call My Name is arguably my favourite song ever, and White Light/White Heat is also my #1 album.

 

[Spring in Fialta]

I get what you mean. I also had reservations about Never Mind the Bollocks initially due to a reason kind of similar to what you described. I thought it sounded loud and abrasive just for the sake of it, but I warmed up to it after a while. Lydon's vocals are amazing, and he's probably my favourite singer. His three year output with the Sex Pistols album, First Issue and Metal Box is IMO the best three year peak of any artist (The Velvet Underground and Eno's Here Come The Warm Jets to Another Green World are also in contention). Haven't listened to the Neu 2! album yet, but I Hear Her Call My Name is arguably my favourite song ever, and White Light/White Heat is also my #1 album.

I thought you were me for like a split second lol. Probably because of the VU/Eno three-peak mention. BTW, am I the only person in the world who considers Lady Godiva's Operation as the best track off of White Light/White Heat? It's never mentioned.

 

[Shareefruck]

The only two tracks off White Light White Heat that I have definitively ahead of that one is Sister Ray and I Heard Her Call My Name-- I agree, it's fantastic and gets unreasonably forgotten. That whole album is perfect-- the track I would rank lowest is probably "Here She Comes Now", but only because the other tracks blow me away-- it's still fantastic in its own right.

I get what you mean. I also had reservations about Never Mind the Bollocks initially due to a reason kind of similar to what you described. I thought it sounded loud and abrasive just for the sake of it, but I warmed up to it after a while. Lydon's vocals are amazing, and he's probably my favourite singer. His three year output with the Sex Pistols album, First Issue and Metal Box is IMO the best three year peak of any artist (The Velvet Underground and Eno's Here Come The Warm Jets to Another Green World are also in contention). Haven't listened to the Neu 2! album yet, but I Hear Her Call My Name is arguably my favourite song ever, and White Light/White Heat is also my #1 album.

If you do try it, keep in mind that Neu!2 is one of those albums that require a bit of context-- it isn't really a fully fleshed out tight masterpiece of an album from beginning to end. It's more along the lines of something that was well on its way to becoming a masterpiece, but became massively compromised due to the circumstances, and it's now admired for how they made chicken salad out of chicken ****.

The first half is immaculate, mind-blowing, and game-changing, IMO-- as good as the first half of any album I've heard (albeit, not for anyone who doesn't like extreme minimalism and repetition). However, they ran out of time and money due to a supposedly unreasonable schedule/budget, their requests to finish it properly were denied, and in response, they hastily filled out the second half by padding it with slowed down, sped up, distorted, and backwards versions of the only two other singles that they had at the time. Some people give it credit for being the first remix album in history for that reason, although that's really stretching the definition of the word remix.

The fact that they did this is endlessly amusing, creatively inspired, and bold to me, and the result is something that surprisingly works way better than it has any right to (doesn't hurt that the two singles used are incredible tracks), but the album as a whole is still uneven, and the second half is somewhat questionable/hard to listen to depending on who you ask, and obviously nowhere near as good/tight/polished as the first half.

I prefer to just treat it as a masterful EP with an experimental bonus disc. As a full album, I would consider it a hugely flawed but great album-- at the very least a fascinating curiosity.

Oh and White Light White Heat is right there for me, too, as one of my favorite albums of all time.

 

[Mikeaveli]

Noticed in the other thread you liked Virtue by The Voidz. Which songs did you like? I'd be interested in hearing your thoughts about the album.

Yeah it's probably my favourite release of the year at this point. The highlights for me were QYURRYUS, Pyramid of Bones, ALieNNatioN, Pink Ocean, and Pointlessness. I like the psychedelic, noisy sound that encompasses the whole album while still having a lot of diversity between the individual songs. The vocals are really great too. There aren't any songs I would consider horrible missteps but the tracklist could have been trimmed a bit imo.

 

[Spring in Fialta]

Yeah it's probably my favourite release of the year at this point. The highlights for me were QYURRYUS, Pyramid of Bones, ALieNNatioN, Pink Ocean, and Pointlessness. I like the psychedelic, noisy sound that encompasses the whole album while still having a lot of diversity between the individual songs. The vocals are really great too. There aren't any songs I would consider horrible missteps but the tracklist could have been trimmed a bit imo.

Yeah, absolutely agree about trimming the fat. I think that's a fault on a lot of records in this current era. It's rare to find one that doesn't have too many unnecessary tracks on them. I also thought some of the lyricism in the record was weak but it's the thing I gravitate to the less in music so I don't put as much stock into it.

 

[kihei]

Have just listened to the first cut of the first CD (of four), but if John Coltrane's virile, exuberant, massively imaginative solo on All of You is any indication, this could be a monster recording.

Now that I have lived with all four CDs for a while, I'll present these comments as a follow-up to my initial response above.

This is a remarkable collection, certainly an essential collection for any serious or even casual Miles Davis fan. The four CDs cover Davis' first trip to Europe and mark the last time that John Coltrane was to be a sideman for Davis. You could subtitle this collection of standards and modal tunes "The Coltrane Album" and you wouldn't be far off the mark. It's not that Davis doesn't play well--he plays beautifully, moody, economic, inner. Nor do the rest of his long term band mates disappoint (Kelly, Chambers and Cobb). But Coltrane is on a mission of his own, something obvious from the first solo. To extend the subtitle it would be "The Coltrane Album--I'm Out of Here." Brilliant though the music is, the quintet is no longer a cohesive unit. It has taken Coltrane as far as it can, and he literally seems to be chomping at the bits to go in his own direction which on several solos (or long parts of them) he does in no uncertain terms. When it comes to soloing, he is second in the batting order, after Davis but ahead of Kelly, and his solos usually start with a respectful nod to what Davis has put on the table. Be it a short time later or a long one, Coltrane eventually takes his music into territories that only he has a map for--moody and certainly inner but hardly economic--where he explores at length the music that he is hearing inside his head while testing the harmonic boundaries of his instrument. It is often thrilling stuff--the future right there on a platter for all to see. While I found much of his playing riveting (especially in context with the history of the quintet), there is no way he could play like that and still be a comfortable fit in the band. It is a bit like walking through an art gallery filled with Post-Impressionist works only to be jolted to realize that an Abstract Expressionist shares the same walls. The centre was not going to hold and Davis would never find his equal again.

 

[Shareefruck]

Closer by Joy Division - 5.0+ (Masterpiece/All Time Favorite)
I've been listening to this alot lately.

I'd probably credit Unknown Pleasures for getting me obsessed with music when I was younger-- it has the more engaging and immediately satisfying sound of the two albums, and is packed with timeless individual tracks. Taken as an album, it's brilliant, but if I'm really being nitpicky and compare it with my favorites, I do have some minor reservations about it-- the listening experience tends to end up a little bit disjointed in terms of flow, and there are breaks in momentum that leave me feeling impatient for the next song.

Closer is an outright masterpiece that's in another league altogether, IMO. The whole albums fits together beautifully and feels like a singularly cohesive whole, the first half is already perfect (weakest track might be Passover for me, and it's still fantastic), but the second half is among the greatest stretches of music I've heard. The way everything builds to the outro of Decades kills me every time.

5.0+ (All Time Favorite/Masterpiece)
1. White Light White Heat (Mono) by The Velvet Underground
2. Taking Tiger Mountain (By Strategy) by Brian Eno
3. Tago Mago by Can
4. Lick My Decals Off Baby by Captain Beefheart
5. Possible Musics by Jon Hassell
6. Interstellar Space by John Coltrane
7. Bootleg 4: Live 1966 by Bob Dylan
8. The Velvet Underground And Nico (Mono) by The Velvet Underground
9. Closer by Joy Division
10. The Ascension by Glenn Branca

 

[Spring in Fialta]

Closer by Joy Division - 5.0+ (Masterpiece/All Time Favorite)
I've been listening to this alot lately.

I'd probably credit Unknown Pleasures for getting me obsessed with music when I was younger-- it has the more engaging and immediately satisfying sound of the two albums, and is packed with timeless individual tracks. Taken as an album, it's brilliant, but if I'm really being nitpicky and compare it with my favorites, I do have some minor reservations about it-- the listening experience tends to end up a little bit disjointed in terms of flow, and there are breaks in momentum that leave me feeling impatient for the next song.

Closer is an outright masterpiece that's in another league altogether, IMO. The whole albums fits together beautifully and feels like a singularly cohesive whole, the first half is already perfect (weakest track might be Passover for me, and it's still fantastic), but the second half is among the greatest stretches of music I've heard. The way everything builds to the outro of Decades kills me every time.

5.0+ (All Time Favorite/Masterpiece)
1. White Light White Heat (Mono) by The Velvet Underground
2. Taking Tiger Mountain (By Strategy) by Brian Eno
3. Tago Mago by Can
4. Lick My Decals Off Baby by Captain Beefheart
5. Possible Musics by Jon Hassell
6. Interstellar Space by John Coltrane
7. Bootleg 4: Live 1966 by Bob Dylan
8. The Velvet Underground And Nico (Mono) by The Velvet Underground
9. Closer by Joy Division
10. The Ascension by Glenn Branca

I might be wrong but it feels like we have some albums in common that we love, albeit through different tracks. I love Passover, and in the same vein, where you don't like Baby's on Fire on Here Come The Warm Jets, I feel it's the 3rd best track of the album (After Paw Paw and Faraway Beach) and Robert Fripp's guitar solo is probably my favorite after Knopfler on Sultans of Swing by Dire Straits.

 

[Spring in Fialta]

Also, I haven't listed to a full album yet but I've been digging into Ariel Pink and there's some fantastic stuff in there, like a spiritual descendant of cheeky Brian Eno. I love that in-your-face playfulness.

 

[Shareefruck]

I might be wrong but it feels like we have some albums in common that we love, albeit through with different tracks. I love Passover, and in the same vein, where you don't like Baby's on Fire on Here Come The Warm Jets, I feel it's the 3rd best track of the album (After Paw Paw and Faraway Beach) and Robert Fripp's guitar solo is probably my favorite after Knopfler on Sultans of Swing by Dire Straits.

For the record, I find that every time I revisit this stuff after one of our minor disagreements, I tend to change my mind a bit and gravitate towards thinking that you're right about a lot of them. I like Baby's on Fire a lot now, actually, and I'm coming around to Sombre Reptiles/The Sex Pistols.

I think these tend to be more struggles with getting comfortable with certain tracks rather than actual contrasting opinions. When albums are so consistently good, we're dealing with such a nitpicky margin of error that ranking individual songs within them isn't something I'm all that confident about, and are things that I flip-flop on all the time.

 

[Spring in Fialta]

For the record, I find that every time I revisit this stuff after one of our minor disagreements, I tend to change my mind a bit and gravitate towards thinking that you're right about a lot of them. I like Baby's on Fire a lot now, actually, and I'm coming around to Sombre Reptiles/The Sex Pistols.

I think these tend to be more struggles with getting comfortable with certain tracks rather than actual contrasting opinions. When albums are so consistently good, we're dealing with such a nitpicky margin of error that ranking individual songs within them isn't something I'm all that confident about, and are things that I flip-flop on all the time.

Then I wish you'd give The Voidz/Julian Casablancas without The Strokes more of a chance. I've always felt he'd be right up your alley.

I'd like to link some stuff from him and Ariel Pink but HFboards is being such a bitch right now it's already a struggle to post a post.

 

[Shareefruck]

Then I wish you'd give The Voidz/Julian Casablancas without The Strokes more of a chance. I've always felt he'd be right up your alley.

Pretty sure that's a lost cause, man. The best I can muster is lukewarm and begrudging "this isn't bad I guess (but secretly, I'd rather stop listening)" type praise. I think his style itself just doesn't work for me.

 

[YoSoyLalo]

this thread reminded me that ive never really listened to closer (i kind of just forgot it exists honestly)

fixing that now

 

[Spring in Fialta]

Pretty sure that's a lost cause, man. The best I can muster is lukewarm and begrudging "this isn't bad I guess (but secretly, I'd rather stop listening)" type praise. I think his style itself just doesn't work for me.

Mirrors my attitude towards Neu! I always go back to Hallogallo, enjoy it for half the track then get the itch to switch to something else. Oh well, maybe someday.

 

[Shareefruck]

Mirrors my attitude towards Neu!. I always go back to Hallogallo, enjoy it for half the track then get the itch to switch to something else.

So it's just purely a length/repetitiveness thing, then, right? Are there any other reservations about it?

Do you feel differently about something like Sister Ray? Because that pretty much hits the exact same hypnotic nerve for me, and to my ears, has more or less the same amount of minor variation keeping it fresh throughout its length.

Also, out of curiosity, what's your attitude about "Is This It?" Is it like.... that stuff is underwhelming, but then now his solo stuff is great? It's hard to pinpoint, but I think what I don't like about the stuff you sent me is more or less the same as what I don't like about The Strokes at the height of their popularity.

If you think it's really night and day in terms of quality, I might feel inclined to try again, because I didn't catch anything like that. It sounded like more of the same to me. Also, is there a stand-out full album that you think is great? Individual tracks are less likely to grab me.

 

[Shareefruck]

this thread reminded me that ive never really listened to closer (i kind of just forgot it exists honestly)

fixing that now

Nice! Let us know what you think.

 

[Spring in Fialta]

So it's just purely a length/repetitiveness thing, then, right? Are there any other reservations about it?

Do you feel differently about something like Sister Ray? Because that pretty much hits the exact same hypnotic nerve for me, and to my ears, has more or less the same amount of minor variation keeping it fresh throughout its length.

Also, out of curiosity, what's your attitude about "Is This It?" Is it like.... that stuff is underwhelming, but then now his solo stuff is great? It's hard to pinpoint, but I think what I don't like about the stuff you sent me is more or less the same as what I don't like about The Strokes at the height of their popularity.

If you think it's really night and day in terms of quality, I might feel inclined to try again, because I didn't catch anything like that. It sounded like more of the same to me. Also, is there a stand-out full album that you think is great? Individual tracks are less likely to grab me.

I'm not a big fan of Sister Ray. * Hides *

Length is often an issue, but repetitiveness tends to bug me more because there's some very long songs that I can really get into, mostly Can's (Halleluwah and particularly Mother Sky). It's like I get entranced and then painfully tune out/break away and it's a very grating feeling which leaves me unsatisfied.

I think Is This It is a fantastic record thats's stood the test of time in the best way, outside of the brutal and annoying Last Nite. It's an incredibly groovy and stylish record that has the sort of blase energy that I find very appealing, probably in large part due to the Casablancas vocals, who's probably my favorite singer as far as vocals only goes. I guess I'm in agreement with the general sentiment in regards to The Strokes. I find Is This It and Room on Fire to be great records and their subsequent career as underwhelming with the odd gorgeous moment (I'll Try Anything Once, Life is Simple in the Moonlight, Tap Out). I might also be a bit biased as they kind of served as that gateway band which I then followed to get to the more rewarding influences, although I do think they stand up well enough on their own. They did bring about/influence a terrible era though, outside of early Libertines/Babyshambles.

Solo Julian Casablancas and The Voidz in particular sound nothing like The Strokes. The latter has the experimental/world music vibe that I greatly admire with enthralling pools of gorgeously melodic music, which tends to be what I gravitate to the most in music (more than pure rhythm at least) while searching for pretty sounds. In regards to the album/individual tracks question, this one is hard for me to answer since you know I've been more of a tracks guy for the longest time and still am to some extent. I think all of his solo/voidz albums are a good listen but none that I feel are flawless, particularly since there's probably only a handful of albums that I've listened to from start to finish which I felt didn't have any lulls. Phrazes for the Young is very different from either Tyranny and Virtue, as it's more synth-y and accessible (although that shouldn't factor it for you) but I think they're all loads of fun.

 

[Shareefruck]

I'm not a big fan of Sister Ray. * Hides *

Length is often an issue, but repetitiveness tends to bug me more because there's some very long songs that I can really get into, mostly Can's (Halleluwah and particularly Mother Sky). It's like I get entranced and then painfully tune out/break away and it's a very grating feeling which leaves me unsatisfied.

I think Is This It is a fantastic record thats's stood the test of time in the best way, outside of the brutal and annoying Last Nite. It's an incredibly groovy and stylish record that has the sort of blase energy that I find very appealing, probably in large part due to the Casablancas vocals, who's probably my favorite singer as far as vocals only goes. I guess I'm in agreement with the general sentiment in regards to The Strokes. I find Is This It and Room on Fire to be great records and their subsequent career as underwhelming with the odd gorgeous moment (I'll Try Anything Once, Life is Simple in the Moonlight, Tap Out). I might also be a bit biased as they kind of served as that gateway band which I then followed to get to the more rewarding influences, although I do think they stand up well enough on their own. They did bring about/influence a terrible era though, outside of early Libertines/Babyshambles.

Solo Julian Casablancas and The Voidz in particular sound nothing like The Strokes. The latter has the experimental/world music vibe that I greatly admire with enthralling pools of gorgeously melodic music, which tends to be what I gravitate to the most in music (more than pure rhythm at least) while searching for pretty sounds. In regards to the album/individual tracks question, this one is hard for me to answer since you know I've been more of a tracks guy for the longest time and still am to some extent. I think all of his solo/voidz albums are a good listen but none that I feel are flawless, particularly since there's probably only a handful of albums that I've listened to from start to finish which I felt didn't have any lulls. Phrazes for the Young is very different from either Tyranny and Virtue, as it's more synth-y and accessible (although that shouldn't factor it for you) but I think they're all loads of fun.

Oh, what the.... for some reason I was under the impression that the opposite was the case for both of these (that you weren't into/had a more dismissive attitude about Is This It? and was receptive to Sister Ray). I think it's pretty likely that these recommendations are lost causes in both directions then, as I feel the complete opposite in both cases.

 

[Spring in Fialta]

Oh, what the.... for some reason I was under the impression that the opposite was the case for both of these (that you weren't into/had a more dismissive attitude about Is This It? and was receptive to Sister Ray). I think it's pretty likely that these recommendations are lost causes in both directions then, as I feel the complete opposite in both cases.

I think my feelings towards Sister Ray are similar to how you previously felt about Venus in Furs. Daunting track that I've tried out, am often curious to try again but then back away due to laziness mostly, since I'll always just go " Well let me listen to X first then I'll go back to Sister Ray. "

 

[Spring in Fialta]

Forever Changes by Love (1967) - My new favorite record of the moment, and one of my favorite of all-time. Formed through a continuous stream of peculiar but soothing musical arrangements which converge to create a vortex where it feels that all that exists is a small moment in time where only one particular pool of sounds exists and I felt submerged by a very-slow moving tide. Then, skillfully, an upbeat, rocking sound would surf over me as my attention never waned.

The sounds are complemented superbly by gorgeous vocals which creates a cadence which rarely lets up, all the while never leaving you tired or uncomfortably confused against the many layers of musical notes, who along with Arthur Lee's voice, helps every instrument enhance one another to great heights and bring about an exquisite orchestration. So adept is Love's musicianship that they can play soothing folk - a genre I tend to dislike - psychedelic rock with uniform musicianship.

Forever Changes, to me, is a black hole which is complete at the time of its appearance and performance, which sweetly vacuums you in for a worthy experience where I felt my ears acutely aware of the starry-experience, and my eyes indulging in a vivid experience through a palette of colory images. A first-rate album.

Favorite tracks: Alone Again Or, A House Is Not A Motel, Maybe the People Would Be The Times or Between Clark and Hilldale.

 

[Spring in Fialta]

Pom Pom by Ariel Pink (2014) - I liked this one, but it's got a couple of terribly garrish moments as well a couple of lulls, but there's some great tracks on there and I like its mixture of experiemental and overtly kitschy qualities that gives a fun effect. It complements Pink's vocals well, who sounds like a borderline pedophilic weirdo cookie-monster - although this thought might be influenced by his looks - who's trying to charm you within Candy Land but fails, although alternatively still (deliberately) achieves another kind of singular charm I greatly enjoyed. Still, sometimes it felt like there was a wee bit too much going on, where it didn't intertwine for maximum effect.

Favorite tracks: Plastic Raincoats in the Pig Parade, White Freckles, Put Your Number in My Phone, Dinosaur Carebears.

 

[Chandrashekhar Limit]

NASIR
Artist: Nas
Producer: Kanye West

I really liked this album. My favourite one so far this year and one of my favorites over the last couple years.

The production is great, Nas has a great flow and the beats seem like a mix of old school New York and KSG/My Dark Twisted Fantasy Kanye. Lyrics are also amazing, as is the cast with Nas always.

I loved every single track, but standout tracks for me are White Label, Adam and Eve and Simple Things.

This is a 9.5/10 for me.

 

[Mikeaveli]

Freddie Gibbs - Freddie [Hip-hop, trap]

This is a pretty standard modern mainstream rap release. Doesn't overstay its welcome at 25 minutes and is consistently solid aside from the interlude. Where is Bandana though???

Standout tracks: "Weight", "Automatic", "Triple Threat"

7/10

Aphex Twin - drukqs [Electronic, IDM]

This double album runs incredibly long but is still very enjoyable. Some of Aphex Twin's most out there stuff lands on this album. The piano pieces are beautiful and the longer IDM tracks are brain melting. I only wish it was more concise.

Standout tracks: "Vordhosbn", "Cock/ver10", "Avril 14th", "Meltphace 6", "Ziggomatic 17", "Nanou2"

9/10

 

[Shareefruck]

Drukqs is easily one of my favorite albums after 2000 (I don't really love anything from these past two decades). I love the style, feel, and musicianship of it, but I agree, it feels really messy and bloated (although I like most of the tracks).

Double albums usually just make me fantasize about what the single album version of them would be.