Now is the time to emit a powerful message, crystalline in presentation, though unapologetically mad and emotional in its aftermath. The devil has returned to remind the public of its devastation and brilliance: This is YHWH Nailgun.
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I feel a deep, personal connection to this project as I have also been a twin for twenty years. While me being born was less influential on the evolution of psychedelic music, there’s still time.
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“Is the old Gaga back?”
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Here, Aoba has managed to transcend the starkness of her previous work and transmit something much more primal, creating music that exists somewhere between the stratosphere and the pummeling ocean waves.
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Joost is not only fun, but inspiring: He’s simply a boy with dreams.
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People Watching is an album of painfully average losers, addicts, and widows, and even if that focus occasionally constricts, it never becomes preachy.
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The creative approach of play is at the heart of the album and shows that despite their professional resources, Horsegirl has never lost touch with the DIY spirit, phenomenal taste, and Chicago roots that makes them who they are.
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Perhaps it was Tears for Fears’ reformation and resurgence in the twenty-first century that contributed to the lasting cultural impact of Songs From The Big Chair. This influence can be seen in countless covers by countless artists—from Weezer to Lorde, it seems every musician wants to rule the world.
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A lengthy letter of regret, but more so a dedicated submission of acceptance. Acknowledging the months of love that no longer fill in the moments of now.
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Cowards is a seemingly not-so-relaxed attempt at a concept album. In a crawl through horror, Squid gives each song moments of a creepy lullaby and a dash through the underworld.
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While Galore was mostly a collection of nocturnal love songs, Choke Enough is made up of blinding declarations of feeling alive. “Is the endless still unbound?” Oklou asks on the opener. On Choke Enough, it is.
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Contradictory in its nature—melancholic yet vibrant, intimate yet expansive.
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