Vanna- And They Came Baring Bones review

The past 2 years haven’t been easy on Boston, MA’s Vanna. Since their 2009 sophomore album ‘A New Hope,’ the band has gone through some pretty big changes that might have ended lesser bands. First was the departure of their long time vocalist Chris Preece who was replaced by former Seeker Destroyer front man Davey Muise and followed by their move from Epitaph Records to Artery Recordings.

In 2010, fans were treated to their first taste of the new line up in the form of ‘The Honest Hearts’ EP which proved that they had not only persevered through some chaotic times but come out of it as a stronger unit.

Now, a year later Vanna has returned with ‘And They Came Baring Bones,’ a record that finds them expanding their range of influences while still maintaining the core elements that make their sound unquestionably their own.

But what really separates ATCBB from the rest of the band’s discography is how smartly layered it is, hinting at a more grandiose atmosphere than anything we‘ve heard from them before. With each listen, you’ll discover more and more things that may have previously gone ignored. Whether it’s guitarist Evan Pharmaki’s epic clean vocals or the spacey guitar passages, you’ll notice that Vanna was more interested in writing moving pieces of music rather than strictly banging your head this time around.

But that’s not to say that this isn’t a heavy record. Opener ‘Black Bones’ is bursting with pissed off adrenaline and sounds almost as if Davey Muise is about to come through your speakers and punch you in the throat:

“Stare at the face of determination. Gaze into perfection. I, won’t be stopped. I, want the ground to give way, the horizon to break. I, want the mountains removed, swallow the sea with it too.”

‘Breathing At The Bottom’ proves to be another standout track and is a really good example of just how dark this record is compared to the last one. Pharmaki’s melodic vocals sound better than ever here in juxtaposition to Musie’s viciousness and the discordant guitars. Add some lyrics about the end of everything and you’ve got yourself the perfect soundtrack to the apocalypse.

One of the first tracks released in promotion of the album was ’Scarlet Shroud,’ which is another great showcase of Pharmaki’s vocals and strangely contains some parts that remind me of something Brand New might have written back in the day.

‘Careless Men Lead Careless Lives’ is a rager from start to finish and contains the only guest vocals to be heard courtesy of The Greenery front man Matt Lanners.

The album closes with the sombre ‘White Light,’ a unique song that starts off slow and melodic and builds into a cacophony of screams and dissonant guitars. It’s a fitting conclusion to the album and as the last cymbal crash echoes out you just might find yourself hitting the replay button immediately afterwards.

Producer Matt Goldman (The Chariot, Underoath, Oceana) deserves quite a bit of credit here as well. His production has always been top notch and you can really tell his ideas do not go ignored by the band’s he works with, and Vanna is no exception. The end result? One of the best post-hardcore releases in quite some time and one of my favourite records released this year. 

Wire — Document and Eyewitness 1979-1980 (Pinkflag)


Marx famously said that history repeats itself first as tragedy and second as farce, and for the type of history he was concerned with, that’s true. If Marx was more interested in art, or had been around for our age of the deluxe reissue and the obscure repackaging, he might have added: except when it repeats first as provocation and the second time as a shibboleth.

It is nearly impossible to imagine that anyone in 2014 is going to stumble onto the recent two-hour, 34-track re-release of Wire’s infamous 1981 live album Document and Eyewitness 1979-1980 without being aware that it is, in fact, infamous, and duly being prepared to either reject it as a pretentious misfire or embrace it as weird genius from the start; as opposed to putting it on expecting more from the band that did Pink Flag, Chairs Missing, and 154, hearing some of the odder renditions here, and muttering “what the fuck?” under their breath (which is, you suspect, the reaction the band were going for).

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Album Review: Arkasia "Evolution" LP


Album Review: Arkasia “Evolution” LP  

By Mitchell Buchanan

When you get a promo package and everything contained within it is typed in caps lock, you know that someone is absolutely ecstatic that the package was sent out. Today, we were given Arkasia’s new album “Evolution” to preview – and truth be told, the album is entirely worth all the caps-locked hype that came with the nine track LP. Released yesterday on Heavy Artillery Recordings, “Evolution” shows two oppositional sides of dubstep: the soundscape-esque creations of long, drawn-out synths and melodies, and of course the big-bass auditory assaults filled with massive drops, glitches, and powerful screaming synths. Known as an “orchestral dubstep” producer, Arkasia has combined his extensive musical education (he played in an orchestra when he was 10 and helped create mini-operas by the age of twelve) with his passion for electronic music to create a fantastically unique hybrid that is something truly out of this world.

Switching back and forth between intense dubstep breakdowns and utterly soundtrack-worthy orchestral compositions, the album starts off with several hard-hitting tracks that feature Arkasia’s signature sounds – scratchy synths and heavily distorted bass lines that start blasting hard within 30 seconds of the opening track, “Destiny.” By the third track, “New World Disorder,” Arkasia has fully integrated melody-heavy synth lines to accompany the all-out sonic blitz; we finally get a little teaser of the sweeping melodic creations that are soon to come. “The Awakening” (featuring A Few Seasons Later) demonstrates the true diversity of Arkasia’s superb production, with no scratching sounds, brutal bass jabs, or violent breakdowns – it’s the powerful melodic work and captivating vocals that give this track an altogether different kind of intensity. “Evolution” (the track) continues this progression with three minutes of relaxing music, but quickly evolves into a monumental two-minute break-down. The eerily distorted melodies that follow the breakdown continue until the second-to-last track, “The Uprising Freedom,” where Arkasia re-invokes the brutal and rebellious synth-work and heavy bass-lines he has earned a reputation for. “Hope(less)” rolls the album out with a bouncy 6/8 track that features tremendously cinematic and orchestral synth lines along with a with a surprisingly furious drop to cap things off.

Arkasia doesn’t mess around when it comes to creating massive dubstep tracks. His considerable background in musical theory really shines through on “Evolution,” proving that he’s single-handedly earned the title of THE “Orchestral Dubstep” producer. From first laying eyes on the album’s promo package, I knew someone, somewhere was pumped to finally see this album released – and I can assure you, we are now equally excited to present Arkasia’s “Evolution” to the masses. BUY THE ALBUM NOW!

The risk when reviewing an album by a band like Jimmy Eat World at this stage in their career is that it can be hard not to sound as though you’re trying to hold onto some kind of smug nostalgia. The reality is that it’s more complicated than simply saying ‘I preferred their early stuff’, because all bands have to change. The fact is though, it’s impossible to forget that Jimmy Eat World can, and have, done so much better.

Jhene Aiko - Sail Out


If you lived 2013 under a rock with earplugs on you probably don’t know who Jhene Aiko is. If you are a fan of the TDE music camp you probably have heard her on tracks before such as Kendrick’s growing apart or Schoolboy Q’s Fantasy or more recently on Drake’s From Time. The L.A. singer has found herself in an interesting place in the music world after releasing her mixtape "Sailing Souls" in 2011 she has garnered more attention as time has passed. In late 2013 she released her EP album "Sail Out".

The Upsides: The album plays through very well. Jhene made a good choice keeping the album at 7 tracks due to the subject matter. The production on the album varies so if you don’t particularly like a track you can skip into the next song and a different mood completely. The album mainly contains a production that resembles that of The Weeknd House Of Ballons.
Jhene goes through a slew of emotions on this album from lust, hurt, and even a pinch of regret is added into these tracks. Each emotion is carried out well on this project, you can get a sense of why each song was written.

The Downsides:
Since there are only 7 songs on this EP i would have loved for there to be less features. For the first four songs of the album each has a feature . Now each feature is well written and well performed and they even commend the song but i would have loved to hear more than only 3 songs of Jhene singing. The production does seem similar as the album plays along due to its repetitive trance-like instrumentation due to the synths on each song with drug influenced subject matter.

Honorable Mentions:
Bed Piece (Peace) Ft. Childish Gambino:
"If I had it my way I’d roll out of bed
Say bout 2:30 mid day
Hit the blunt then, hit you up to come over to my place
You show up right away
We make love then and then we fuck
And then you’d give me my space”.
The whole song is about sex, drugs, and being lazy in lust. the highlight to the song is it really brings the song to a closure and explains the song to the T. Bino’s verse goes through another up and down of emotions. Showing he can love the subject of his verse and her child bino makes himself vulnerable.

"Its not love but its pretty close"
“Curled up with my head on your chest. Its the best remedy for the pain and the stress”
“Every other day’s a different game that you just can’t win. I just want to ease your mind and make everything all right”

Mac Demarco - Salad Days Album Review


Release Date - April 1st 2014

Label - Captured Tracks

Highlight - Salad Days

Sounds like…

I look into the mirror?

I forgot how old and withered it looks inside when you’re praying from the outside. Looking through the shine, trying to find some-thing that will let me hide. Perhaps, mirrors have always been magical. Back in the nether-ages they claimed that’s where all the lost souls went. And every time someone looked in, it gave the souls a chance to look out and plot their escape. To return to their home from where they were banished to be lost.

But lets be clear…

Lost is just a word coined by those who think they have been found. You can define anything by what it’s not. If a founder sees a penny reflecting the light away in the warm dirt, they will pick it up, wipe it off and maybe even soak it in Coke for the night. In the morning it will be placed carefully into their breast pocket, all shinny and new. It will be taken out on occasion and shown to guests, peers and pilgrims. OVER & OVER they will tell the story of that special day they saved its soul from the dirt. 

They found it, they made it new and they set it free.

Free to be controlled and manipulated by their unwritten societal rules. They define lost as not being found. Whereas in most cases lost is the choice of those that seek to never be found. Some leave town, some head to ground but most just get on with it without a sound. Praying that one day we can all get lost and all be lost together! Being lost is not about finding your way. It’s about knowing the way and choosing to go another, for better or worse.

It’s adventure, it’s danger, it’s kissing goodbye to a stranger in the daylight. 

It’s shaking hands with ants as you move through the crowed forest on your hands and knees carefully not crushing the flowers. And when a founder looks at you and asks you what you’re doing; you tell them straight up, “When one becomes one; we are one. When one becomes two; we are three. And when three becomes anything more it’s all gone.” And you can always tell by the tone of their face that they don’t understand, as they look at you with that lost expression.

Perhaps it was too much? Perhaps it was not enough? Perhaps it was everything I needed? Perhaps nothing happened? Perhaps, perhaps, perhaps! 

New Love Engine // Review


Three-piece Essex band ‘New Love Engine’ is certainly capable of making music for you to get your teeth into. Their sound is padded out with a tightly-honed instrumental (Annalise Woolfe on bass) and percussion (Nathan Taylor on drums) that is perfectly balanced with frontman Braden Clarke’s drawling vocal style. There may only be three of them, but between them they certainly make a hell of a lot of noise!

Despite the track title insisting ‘I’m Not That’ – we think they are that, and more besides. Whilst this song is a laid back, stoner melody the band’s other material is more angst fuelled; with ‘Three Word Chorus’ building to epic riff climaxes and giving us exactly what the track suggests – a three word chorus: “summer of love”. It’s minimalistic, but it sure as hell works and the aggressive vibes to the track are evocative of Californian garage band, FIDLAR.

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Keith Jarrett/Charlie Haden/Paul Motian — Hamburg ’72 (ECM)


First assembled in 1966, Keith Jarrett’s trio with bassist Charlie Haden and Paul Motian would go on to become the nucleus of his 1970s quartet with saxophonist Dewey Redman. Hamburg ’72 visits the three players in the midst of that transformation on a German stop of their first European tour. The music has circulated in unsanctioned circles for years, and this legitimate iteration only includes the second set of the evening albeit in studio quality sound. Even as a partial of the complete aural picture, it’s a sublime listening experience documenting an ensemble of equals. 

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@nickiminaj finally drops her highly anticipated album, THE PINKPRINT! Her most revealing album to date is a treat for fans across the globe. Get the exclusive details & review all on @kontrolmag now!!!! By: @thegaybestie

#nickiminaj #barbz #kendolls #thepinkprint #music #newmusic #albumreview #art #thegaybestie #pinkfriday #classic #hiphop #rap

I used to pray like God was listening. I used to make my parents proud. I was the glue that kept my friends together, Now they don’t talk and we don’t go out.

This album I believe is the voice of just about everyone that was a teen or in that age vicinity back when it was released. We’ve all felt lost, rejected, hurt, or uncared some way or another.

In this one, Brand New is trying to make a statement as clearly as possible both through the choice of words and through the music in order to send the message blaring into the listener, trying so hard to draw out whatever it is we keep hidden. All those experiences that we never talk about; never mention; are afraid to think about let alone confront; avoid so blatantly in order to not deal with the troubles they create. The purpose of this album is tell you, the listener, “I don’t know what it is you are going through, but I feel the same way”

This is where the power of this album is displayed. As humans, we are more than likely to feel similarly as a result of many unique situations. This album plays the role of creating a link between everyone. It focuses on the emotional distress rather than the question of “do you really know what I’m going through?” Music in general tends to bring people together in some sort of way with no boundaries. What makes this album so different is the way it is so focused at one thing; one aspect…

The album is so well done; so complete and right on point. The instruments get loud only to illustrate a point. The screaming is done with purpose. The lyrics serve a purpose; no one word can be replaced in this and still project the same imagery or make a point in the same way as the words chosen do.


The album art… Something just doesn’t look it right on that cover. That’s the point.

The title… if you’ve made it this far then I’m sure you get the point.

Rating: 10 
What is it you?

Glorious // Foxes - Review


Louisa Rose Allen – better known by her stage name ‘Foxes’ – couldn’t have named her debut studio album more aptly. ‘Glorious’ does exactly what it says on the tin; in fact, I can’t get enough of the 44:57 minute entity. I’m a little bit jealous I didn’t write this whopper of a debut myself.

The album is clean cut, oozes a professional touch and boasts impressive, resonating vocal work throughout. If you flicked the radio on and heard the lead single ‘Youth’ for the first time I’d forgive you if you mistook it to be one of Lorde’s; the two women share the same strong, albeit often restrained vocal style. The whole thing flows effortlessly, allowing it to be listened to in its entirety without skipping a single track.

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Songs: Ohia — Didn’t It Rain (Deluxe Edition) (Secretly Canadian)


Didn’t It Rain is the sixth and final Songs: Ohia studio album, the enigmatic zenith of a seven-year run that saw Jason Molina record with no fewer than seven different bands. But Molina never stuck with one group for very long, on the road or in the studio, and he wouldn’t until after 2004’s Magnolia Electric Co. was completed. So it’s no surprise that, for Didn’t It Rain, he traveled to Soundgun Studio in Philadelphia to play with eight musicians he barely knew. That was how he had always worked.

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Album Review: Childish Gambino "Because The Internet"


1. The Library (Intro)
2. I. The Crawl
3. II. worldstar
4. Dial Up
5. I. The worst guys (feat. Chance The Rapper)
6. II. shadows
7. III. telegraph (“Oakland” by Lloyd)
8. IV. sweatpants
9. V. 3005
10. Playing Around Before The Party Starts
11. I. The Party
12. II. no exit
13. Death By Numbers
14. I. Flight of The Navigator
15. II. zealots of stockholm (free information)
16. III. umm
17. I. pink toes (feat. Jhene Aiko)
18. II. earth: The oldest computer (The last night) [feat. Azealia Banks]
19. III. life: The biggest troll (andrew auernheimer)

Stone Mountain, Georgia native Donald McKinley Glover: the actor, singer, songwriter, stand-up comedian & music producer or best known to the world as Troy Barnes of NBC’s TV show “Community” or by his stage name as Childish Gambino [ x ]. After releasing numerous mixtapes, releasing his debut 2011 studio album “Camp” after being signed to Glassnote Records; Gambino releases his second studio album “Because The Internet” [ x ] under the label on December, 10, 2013 which sold 93,580 copies in its first week sales. Donald grew inspiration for the title to his album by having conversations with alternative singer and songwriter Beck. Gambino explains the title of his sophomore album by saying

“Because the internet I’m here, because of the internet we’re all here. It’s the language of earth. Everyone keeps saying by this or that year, Mandarin or Spanish will be the most dominant language, but the internet is already a language we are all connected to; even my dad can understand the meme format. But the thing is, there are no rules, which is also the awesome thing”. -[ x ]

In promotion for “Because The Internet” and syncing with the album; Donald Glover added a prelude screenplay that gives the album an indirect visual and theme of the album. The screenplay is said to be a prelude to “Clapping For The Wrong Reasons” [ x ] in which have no audio and leads up to the album and he releases the 24:45 mini movie title “Clapping For The Wrong Reasons” [ x ] via YouTube which have  guest appearances by Chance The Rapper, Danielle Fishel and Trinidad James just to name a couple.

This album delivers an authentic Hip Hop sound & lyrics that obviously grew inspiration from the internet which has clips from sites like WorldStarHipHop [ x ] and YouTube and sends a message only people of the internet can interpret. The bass heavy tracks like “Crawl” and “Sweatpants”, the EDM inspired track “Earth: The Oldest Computer (The Last Night) ” featuring Azealia Banks, message delivering tracks like “The Worst Guys” featuring Chance The Rapper and “3005”. This man has given a creative batch of music that will keep you musically feed, wanting more and listening until it wears off on you.

Beside the single “3005” my favorite tracks from the album I would say are: “Crawl”, “Worldstar”, The Worst Guys”, “Sweatpants, “Pink Toes”, “Earth: The Oldest Computer (The Last Night)” and “Life: The Biggest Troll”. Those tracks in my eyes have really defined the album. To some the album is all over the place and seemingly doesn’t have a concrete direction but once you play the album a few times; the album gives (as I said) an authentic Hip Hop sound and lyrics where his topics ranges from his fear of being lonely to how people connect on the internet and life in general that ties in with his creative and slightly humorous puns.

Overall I give Childish Gambino “Because The Internet” firm 9.0/10. The reasoning behind the rating is because the album kind of mirrors the internet in a way that some of the songs on the album will throw you off but the good thing about that is Childish Gambino forces you to dig into his lyrical content [ x ] alongside the live, mildly sampling and creative piece of work. I’d recommend this album to anybody who wants a clever lyricist with a not so commercial sound. “Because The Internet” is a very interesting and lyrically refreshing album. I will be purchasing his next project. If you purchased your copy of “Because The Internet” tell me your thoughts and give your own rating.


Robert LeChien

The album cover for bury me at makeout creek depicts a towering skyscraper with one lone, rebellious window jutting open. It’s very possible that this is a metaphor for Mitski herself, standing out from a hoard of orchestral, poignant female vocalists. That being said, an open window definitively signifies one of two things: forced entry or emergency exit and on her third official release and first official album, Mitski shows us a little bit of both. 

It’s very easy to dismiss Mitski as another run of the mill Angel Olsen-esque ripoff. Her songs drip with lo-fi influences, her blend of punk, folk, and dream pop mimics Olsen and others. However, 1 minute and 17 seconds into her masterful makeout creek, Mitski buries any misconceptions the listener may have about her or her songwriting ability and following the initial over modulated drop on the first song, she continues with what is undoubtedly the song of the year thus far, townie

A tale that could shock some in its crassness and general apathy, townie benefits from its ripe vocals and face-melting instrumentation blended down to just above muddling mess. One can easily imagine Mitski sitting in the backseat of a prepaid off Toyota (or probably something a tad more luxurious) watching the world pass by as a clearly intoxicated driver toys with the radio while he/she should be focused on the perils that lie ahead, out the windshield and much further. However, she paints herself as a hapless starry eyed girl searching for love, and apparently that’s something worth dying for. 

As the album progresses forward, it becomes clear that Mitsky is also borrowing from indie darlings Beach House, with her dreamy and enchanting delivery and minimal, abstract lyricism. Despite all the obvious influences and all the artistry that Mitski draws from, makeout creek never feels like an album that isn’t her own and in that sense, she is paying homage to these fantastic artists rather than committing thievery (cough Lana cough).

With Bandcamp now being as sprawling as it is, this genre of music is not impossible to find. But as an avid fan of rugged indie pop, I can assure you that an album as realized as this in its intent hasn’t shown its face in a long while.

Mitski isn’t a perfect artist yet, and that’s a compliment, because what she has going for her right now is nothing short of mesmerizing and, in my opinion, bury me at makeout creek will go down as the first fantastic release in a catalog that will continue to demand standing ovations. Now, let the breeze roll in. You deserve it. 


JMSN Self-Titled


(A modest, but refreshing breath of air.)

Both the R&B and singer-songwriter realms of today’s era in music have definitely evolved from being effortlessly straightforward, to at times almost anything but. Take Frank Ocean’s channel ORANGE for example, with it’s various topics and multiple parted songs, yet retaining the crucial elements to successfully being an R&B artist. “Thinkin’ Bout You” was about as simple and as accessible as Ocean was going to let himself be, while his true songwriting and vocal abilities ultimately shined throughout the lesser known tracks within his debut album. Christian Berishaj, better known by his stage moniker JMSN takes his talents in singing, songwriting and producing in an attempt to make his own mark among the various new kids on the block emerging from every which way in this day and age with his debut self-titled.

Despite the little knowledge of material I possess about Christian, The beginning of JMSN showcases a promising introduction to his world, with the melancholy keys and sweeping guitar scales of “My Way”, he serenades his self-reflecting perspective to the listener quite effortlessly. One thing I really appreciate about this LP is how each track flows into the next without hesitation, not in a typical progression, but in more of an experimental one. The ending of “My Way” is almost a completely different pace from when the track first started, which then quickly fades and starts “’Bout It” almost instantly after. Mr. Berishaj has stated his main influences to be from the subtle, yet beautiful Fiona Apple, to alternative rock legends Radiohead, however these artists aren’t exactly what comes to mind when I hear his voice. The track “Street Sweeper” reminds me of something Justin Timberlake would be more than happy to jump on. The guitar chords mixed with the rumbling low end of the bass notes compliment’s Christian’s voice quite well here. “Addicted”, one of the album’s singles was the first song I heard, and from what I can tell, the album version has remained untouched. Chopped and sampled vocal snippets make up the background to this sensual piece. The track’s second part however, while being interesting to an extent, unfortunately doesn’t stick with me quite as much. Once you make you’re way to the second popular tune “Ends (Money)”, you start to get the general direction of the album, as it slowly falls into the same fashion throughout the remaining tracks, with the closer “Foolin’” being a beautiful ending to a modest, but refreshing breath of air.

While the blue album didn’t exactly blow me away in any sense, it did however give me an exceptional example of how much promise Christian brings to the table as a new artist. This particular debut showcases something special and in turn, could ultimately enable JMSN to evolve into a pioneer of his life, expectations and influences.

Favorite Tracks: “Street Sweeper”, “Addicted”, and “All Apologies”.

Frank Ocean "channel ORANGE" Review


Controversial? Yes. When have we had a male musician in the hip hop community be so openly honest with both his music and sexuality? In a genre of music that still struggles to maintain growth, this is a startling revelation. Listening to music with an open mind however, is what most artist have always asked us to do. There art is our gift. Will Frank’s recent confession at all alter how you listen to his music? As cleverly put by Complex Magazine writer Brad Wete, Frank’s lyrics are still deeper than his surname.

A mere week after Mr. Ocean’s mouth dropping confession about once being in love with a man at the age of 19, comes “channel ORANGE”. A summer embracing album that goes beyond club bangers and sex anthems. Instead Ocean takes on subject matter that either is never mentioned, isn’t as detailed or just darn right not as good. On “Pyramid” the Odd Future crooner takes all of 10 minutes to tell us of a woman he’s falling for, who unfortunately walks a fine line between business and pleasure. Frank just wants to make love to her, but due to her profession, it’ll cost him. It’s his genius wordplay that makes a song hitting the 10 minute mark seem like a breeze. Tracks such as the instant classic “Bad Religion” and the brave ballad “Forrest Gump” do an outstanding job with detailing his feelings. However, the cleverness of those two tracks could be over looked by those looking at the controversial use of the words “love”, and “him” in the same sentence.

“Channel Orange” isn’t just a one man show. With guest features from John Mayer on the short and sweet “White”, Odd Future bandmate Earl Sweatshirt drops in for a rather clever performance on “Super Rich Kids”, while the now you see me now you don’t king Andre 3000 shows up on “Pink Matter” for a cleverly put together verse. “Since you been gone/I’ve been having withdrawals/you were such a habit to call/I aint myself at all, I had to tell myself nah/ she better with some fellow with a regular job,” raps Andre

As detailed in his Tumblr post, Frank did pour his heart out to another man to which he brushed him off because his girlfriend was waiting upstairs. It’s no surprise he chose to end his album with someone closing the door and going into the house. Perhaps an
Ode to his first love? Failed love attempts or not, Mr. Ocean has taken the first attempt at changing music forever, and whether or not it’s your favorite hue, Orange matters.

Comet Gain – Paperback Ghosts LP (Fortuna Pop)


You start to wonder after a while what it is that you see that the others don’t, why that is, and why nothing can be done about it. Cursed to the same fate as them, the understanding that you can’t bring across to everyone around you, the love and kinship you feel towards this imperfect band of souls.

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L.E. Aalto

I was originally going to write this as a serious review, but I think everybody knew what the outcome was going to be. Everybody knew the commotion and the controversy of this album; for the past week everybody was rhyming ” punch Lana Del Rey twice / like Ray Rice.”

Do not buy this album. Period.

Do not listen to this album.

Do not waste your time talking, thinking, analyzing this album.

Shady XV is simply a reminder to us all that Eminem has been in the scene for too long, bringing with him nothing for his audience to benefit from. You may feel bad for a white boy who grew up in Detroit without many friends, but that white boy would beat up your daughter and rap about it in order to keep that edge. Eminem is a sad pop star who should have dropped with the millennial ball in 1999.

The visual description of the Hiroshima bombings from a man who survived it is more pleasant, more important, and more fulfilling than this abhorrence that would insult even the worst rap artists out there. (I’m looking at you, Eminem)

I would much rather watch the senile Bill Cosby blow his fucking brains out because he couldn’t handle the pressure of his own decisions then listen to this album any longer.

I would say that among the election of Ronald Reagan as President, terrorist attacks, the KKK, and this new album by Eminem, it would be safe to determine that terrorist attacks and this album are tied for first place for being the worst things to happen on American soil. It would also be up for debate on what’s whiter: the KKK vs. Eminem’s trademark shouting.