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Mister Pink

The Positive Album Review Topic

Recommended Posts

Bruce Khansey




YEAR: 1980

GENRE: Heavy Metal


1. Lightning to the Nations – 4:00

2. The Prince – 6:27

3. Sucking My Love – 9:35

4. Am I Evil? – 7:21

5. Sweet and Innocent – 3:13

6. It's Electric – 3:50

7. Helpless – 6:05



One of the albums that changed my life.


United Kingdom, 1980.

We're in the golden age of the New Wave of British Heavy Metal, While some bands like Iron Maiden, Def Leppard, Motörhead and Saxon definitely made it and got into the mainstream scene, other bands like Angel Witch, Praying Mantis, Tygers of Pan-Tang and Tokyo Blade drowned in the limbo of the underground scene.

The most underrated of those bands, however, are definitely Diamond Head, later known as Metallica's greatest musical influence. I would describe this band as the link that joins Led Zeppelin and Heavy Metal. Their most famous album, the one I'm about to review, is Lightning to the Nations, known as "The White Album", due to the lack of an actual cover.


I won't write hundreds of lines, I think these reviews are made for a quick read and to tempt/encourage other people to listen to these album we chose; what I'm going to say is that if you're into classic heavy metal and hard rock from the early 80's, then this album's definitely for you.


Why has it changed my life? Because I tried so hard to find other bands with a sound like this, and apart from Angel Witch I still haven't found another.

Songs like "Sucking My Love", "Helpless" and the terrific, monumental "Am I Evil" will tell you more about the golden age of Heavy Metal than anything or anyone else. There are more guitar riffs in these songs than in an entire discography of a moder days metal band.


Rough sound, fresh songwriting, originality, great guitar work, pounding drums and clean, earthshaking vocals will lead you into 40 minutes that every hard rock/metal fan should know by memory!

Edited by Bruce Khansey

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Melody of Certain Damaged Lemons (2000)
By: Blonde Redhead

I started listening to this album after I learned that Rick and Morty used this
for one of their characters. I like that song and I decided to give the album a try on Spotify.

This one is the 5th studio album released in the year 2000 from an alternative rock band called Blonde Redhead. At first glance, you can see that this album has dark and grim tone to it, and I can tell you that it will getting darker at the end. The album itself contains many variations of genre, from Alternative Rock, Post-Punk, Electronica, Dream Pop, to the grim Chillout tune as the closure for this album. Although the first 10 minutes of the album are very enjoyable with the flow that match on each songs, the rest have an off-putting flow that makes the album flow very stagger, especially with the inclusion of Electronica and Dream Pop in the middle of grim rock ballad.

There are several songs that definitely deserve my highlight:
- "In Particular", the 2nd song of the album which has a dark-ish Dream Pop tune to it which complements the intro very well

- "Melody of Certain Three", a fast-paced Rock tune that reminds me of later years Blur but with more pace and cheer-y grim tone

- "For the Damaged", a very dark song, accompanied with the slow-paced acoustic, somber vocal, and dark lyrics that represent the album very well.

- "For the Damaged Coda", the song that became popular thanks to Rick and Morty. Has the same formula as the previous song, but only has scream for help as the lyrics which is why I said that this is the perfect ending for a dark themed album.

The last two songs I mentioned goes well together, but alas, both are separated by another song which breaks the flow of the album. Fortunately, someone did a God's work and

Now, I'm not a fan of something dark and gloomy, and this album is no exception for something that I might heavily consider to get despite my love with some of the songs on this album. Besides that, I recommend this album if you want to find something new to add into your music collection. Edited by unbid

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Just take a listen, just came out. Can't do a critique, it's too new. All I know is I like it. Spent the day in bed & Jacky are my to favs so far.

Edited by Spadge

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nothing,nowhere - reaper




nothing,nowhere as far as I know is a one man act, which considering the sound he's crafted, is pretty cool. n,n takes the bedroom trap rap style Bones introduced earlier this decade and combines it with both midwest emo and the more post hardcore inspired screamo emo. Although that sounds odd on paper, it all comes together to create this sound that's both new and aged with nostalgia. I was really impressed with this project, although I hope he doesn't abandon what makes his music unique, as it's tempting to try to make generic trap bangers.


Best tracks: houdini, black heart




Marilyn Manson - Heaven Upside Down




Manson has really gotten their sh*t together musically since Pale Emperor, which was the first good album the band released since Holy Wood. What made Pale Emperor so good was the new, blues inspired sound that the group incorporated into the record. The production fit Manson's cry for help vocals, which was consistent throughout. On this new album, the blues sound is pretty much gone. What were given is a pop version of Antichrist Superstar, infusing modern trap production, like on Say10, but with the aggression of the Manson of old, like on We Know Where You f*cking Live. As much as I enjoyed hearing a bit of the old Manson, it's just too polished. The new production elements work, but not with the other half of the equation. Lots to like here though, but it doesn't justify its existence like Pale Emperor did.


Best tracks: Blood Honey, Say10



Edited by Mr_Rager

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Returning with reviews :D


Imogen Heap - Ellipse

Release date: August 24th, 2009

Genre: Dream pop, Folktronica, Ambient

Label: Megaphonic

Review: I think some guys would know her thanks to the "mmmm whatcha say" (Hide and Seek from her former album Speak for Yourself) and then that excerpt became a meme and used on a Jason Derulo song. In my case I know her thanks to her 1998 album IMegaphone and her project Frou Frou. Then Imogen made that is far away from her "best moment" in 2005, Ellipse hits the nail on the head with something fancy and eclectic, First Train Home gives a nice mood of synthpop and mellow rhythms, while Wait it Out takes a soothing path which is like a mixture of neo-classic Olafur Arnalds and soothing Kate Bush. But Earth disappoints me a little, the style isn't bad but as a matter of fact it brings me back to Speak to Yourself. Swoon is the same as Earth, not my type (you guessed it). Tidal reminds me the style of Frou Frou, the iconic mellow DnB style, then Between Sheets feels soothing at all, right? The after-shower electro pop Bad Body Double is kinda interesting, and now here the best park, If I could put Little Bird, 2-1, The Fire and Canvas at the end of the album, both tracks are the most soothing and chilling best part of Ellipse.

Favorite tracks:

  • First Train Home
  • Wait it Out
  • Tidal
  • Between Sheets
  • Little Bird
  • 2-1
  • The Fire
  • Canvas

9.0/10 - Highly recommended


B. Fleischmann - I'm Not Ready for the Grave Yet

Release date: October 5th, 2012

Genre: IDM

Label: Morr Music

Review: I am not only focused on great British IDM/ambient talents, as I can't believe there's great talents from Center Europe, I think I am gonna have a zealotry and forget Aphex Twin and Boards of Canada forever (just kidding :p ). Bernhard Fleischmann is such an interesting guy, just like other IDM artists. And this album gives anything that you would really enjoy, pure experimentalism of instruments and genres. It is likely a soup mixed with IDM, glitch, grime, post rock and folk. I stand out the Bernhard vocals on tracks like Don't Follow, I'm Not Ready for the Grave Yet and Your Bible is Printed on Dollars. Post rock influenced Who Emptied the River, This Bar and At Night the Fox Comes. And Beat Us, a grime influenced track which reminds me some Emika and Flying Lotus songs. I highly recommend to discover far beyond from UK.


Favorite tracks:

  • Beat Us
  • Who Emptied the River
  • I'm Not Ready for the Grave Yet
  • This Bar
  • Tomorrow
  • Your Bible is Printed on Dollars


8.5/10 - Recommended

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Posted (edited)

I am back with a new reviews:



Zero 7 - Yeah Ghost

Release date: September 28th, 2009

Label: Atlantic Records

Genre: Experimental, folk, indie, downtempo, pop, soul, IDM, drum and bass

Review: This happens the same like Boards of Canada' Geogaddi, some people like it, some people hate it. But this time, most of the people hate this release from the former errand boys and trip hop duo (currently they are dropped out unfortunately). In my case, it took me a lot of listens to give a chance to Yeah Ghost, we know Zero 7 is alive without grief and glory and sincerely sometimes surprises us. Starting with the review, this album has a lot of different styles each song we listen: "Count Me Out" is the intro from this album which is likely an attempt of power electronics with ambient elements but then there's the lower point from this album..."Mr. McGee", a cheesy but annoying R&B/Soul song that is like a failed attempt to get into Billboard Top 100 with vocals provided by ESKA, I might say this is like the Zero 7 track I hate. Then we got a track that is mostly used in supermarkets or furniture stores (Yes, what a cliche!) called "Swing", a twee-pop track with sad lyrics from Binki Shapiro, "Everything Up (Zizou)" is a homage to the former soccer player Zinedine Zidane, vocals from Henry Binns (which is not the first time he sings, check "Your Place" from Zero 7 former album "The Garden") and electronic indie rhythm which reminds me of Phoenix. Martha Tilston (which is my favorite folk artist) gives us an hypnotic folk trip with "Pop Art Blue". "Medicine Man" is another track that I would like to remove from the album (apart from Mr. McGee), ESKA together with a gospel cheerful voices makes another cheesy R&B/soul song with catchy parts like "outragerous...outrageous" or "contagious...simply outrageous". Finally it's over with a track I love so much; "Ghost Symbol", something that it's worth, IDM melodies that reminds me of Plaid or Arovane, and then we got "Sleeper", an attempt of mimicking a track from Aphex Twin' Richard D. James Album (Seriously, Zero 7 needs some IDM lessons), mostly predominant drill and bass melodies but distorted vocals from ESKA and Rowdy Superstar, I think they did well with the former two songs. "Solastalgia" is the interlude, mostly soothing space ambient with angelical vocals which reminds a little bit of "Parallel Stripes" from Aphex Twin' Selected Ambient Works Volume 2. Then there's "The Road", a soul track but in a sad side, certainly depressing and suicidal like "Breathe Me" from Sia. The final part of this album is quite acceptable, "All of Us" is like Four Tet meeting Path Metheny, a folktronica but experimental masterpiece which ends the entire album.


Favorite songs:

  • Count Me Out
  • Swing
  • Pop Art Blue
  • Ghost Symbol
  • Sleeper
  • Solastalgia
  • All of Us

8/10 - Recommended



Zero 7 - The Garden

Release date: May 22th, 2006

Label: Ultimate Dilemma

Genre: Trip hop, downtempo, chillout, folk, jazz

Review: Sincerely I miss Tina Dico, Sophie Barker and Mozez, but...oh well, Sia worked on this album but with a new contribution of José Gonzalez, the Argentinian-Swedish folk artist. This album had not too much impact than the former two albums (Simple Things and When It Falls), but I appreciate Zero 7 touched new territory, instead of convenient chillout and lounge that people could listen on Starbucks or dentist waiting rooms. Jose Gonzalez and Sia has a predominance in this album with mellow vocals, as the album crosses paths of downtempo tracks like "Throw It All Away", "Today", "This Fine Social Scene", "If I Can't Have You", "Crosses" and "Waiting to Die", folk in "Futures", "Pageant of Bizarre" and "Left Behind", pure jazz on "Seeing Things" and "Your Place" and sparkly glitch on "You're my flame". Sia always were a lucky charm to Sam Hardaker and Henry Binns, apart from José Gonzalez which both made a good job indeed, after all.


Favorite tracks:

  • Futures
  • Throw It All Away
  • The Pageant of Bizarre
  • You're My Flame
  • Today
  • This Fine Social Scene
  • Your Place
  • Crosses
  • Waiting to Die

8.5/10 - Recommended

Edited by SeroH

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DEATH GRIPS - Year Of The Snitch




Death Grips is an experimental hip-hop trio originating from the Sacramento area of California. During their relatively short career they've released six studio albums, a debut mixtape and about as many EPs. Whilst prolific, their sound doesn't particularly lend itself to radio friendly airplay and that's somewhat the point. Death Grips have a way of taking conventional sounds and running in the completely wrong direction, baffling those unfamiliar and thrilling those familiar. The anticipation train for Year Of The Snitch began not long after their 2017 EP Steroids as the band teased a new studio album shortly after its surprise release. Hints first began from the band's Twitter page, as the slogan "Death Grips Is Online" became the running meme for fans. This began almost a year ago, and the band is not unaccustomed to toying with their audience, which is made up of some of the most fanatical and frantic of followers. With each album or EP, Death Grips explore another avenue, so fans were eager to discover just what the future had in store. As it turns out, this album has been a polarising listen, further driving a divide between what is mainstream and what is underground.


I'll be completely honest - I wrote about 90% of this review earlier today. I went through it track by track, discussed some of the lyrics and then went on to describe what I thought was being inferred. I was about two tracks from the end and I suddenly realised it was the most sterile, boring, trite review I'd ever seen. I read it back twice and it was so devoid of life I couldn't bear it. I deleted the whole thing and went to run some errands, listening to it once on the way there and again on the way back. To break this album down track by track like I had done before felt like an insult, because there's so much going on in each track it would be impractical to even talk about. I then deleted everything I had already written and here I am, spitballing, hoping I can pull off a semi-respectable review.


The thing about Year Of The Snitch is it feels alive. It feels like a pet. With each release following their debut, Death Grips have always had a story, or a piece of lore surrounding it. For one album, there was a deep web ARG that invited fans to pull apart elaborate and esoteric lines of code in order to piece together scraps. For another, in this case a double album, fans were left dangling by a string as the two parts were separated by a nearly nine month gap. Clearly aware of their fan's anticipation, Death Grips instead released a completely unrelated instrumental album titled Fashion Week which used letters as track titles. These track titles spelled out "JENNY DEATH WHEN" which was the common chant on social media whenever somebody even dared to type the band's name. It's this connection that helps fuel part of what makes a Death Grips album special.


What I will talk about here is the theme of Year Of The Snitch and that is straight-up sex. There's talk of murder, suicide, drug use and nihilism, but the overall vibe is sex. From sleazy overtones played over corrupted circus fanfare to perverted cooing that teases anal in a mosh pit, it's clear that this is the band exploring their filthier side. Even the album's artwork is a vulgar display, with six hungry and open mouths wet with saliva. I can almost feel their tongues in my ear. I would argue a second, more subtle theme is the internet itself, or online culture and how disposable it all seems to be. From the use of memes to having the director of Shrek as a collaborator, it's a powerful display of how Death Grips acknowledges online culture and still manages to twist it to suit their own agenda. The album from start to finish is practically seamless in transition, with little to no gaps between songs and often the previous track will bleed into the next. Despite this, the band released six singles in anticipation for Year Of The Snitch and each one sounded like they were from different projects altogether. Individually, the songs felt lacklustre, especially when the transitions teased what was to come. It felt like I was being shortchanged.


There's an argument to be made that states context is important, and I'll be the first to admit that I didn't so much care for many of the singles released. I didn't even like the album when I first heard it. As daft as it sounds, I felt betrayed. I have enjoyed this band's music for years, and for about half an hour I couldn't believe what I was hearing. It felt like a joke. I saw a few people that felt the same, but much of the feedback was overwhelmingly positive. I just didn't get it. I didn't want to force myself, but I took some time to actually sit down and listen to this. Something eventually clicked, and now I consider it one of the band's strongest projects to date. I don't know if it's being presented with the entire album or how my opinion changed because of the songs I had heard previously now had a home, but it simply works.


There's something for every type of fan of Death Grips here, and I think that's key when we talk about endurance of an album. Part of the joke to me was that the last song on this album is called "Disappointed". This felt like the band was saying there was even a song for those that hated it, as if they had pressed pause and yelled "look, there's something here for you true fans too" through a wave of eye-rolls. This album is as terrifying as it is comical, as cryptic as it is in your face.


The best part though? The album is believed to be named after Linda Kasabian, one of the key players in the conviction of Charles Manson in 1971. She even gets a song too, the aptly named (if a little taunting) "Linda's In Custody". The band has used Charles Manson's incoherent speeches as samples in previous works, and the band has even sampled their own older material in Year Of The Snitch which brings things right back to the beginning in quite nicely. When did Death Grips release the album? On Linda Kasabian's 69th birthday.


That's right - this entire album is a massive 69 joke. Year Of The Snitch indeed.

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