musicjam10
M.J.1.0.
I review music that I find cool.
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Midnights, Taylor Swift, 21. October 2022.
(This review will not include songs from Midnights (3am Edition) and Midnights (The Till Dawn Edition)).
To get right to the point, this album is one of those generic pop/dance albums that has too many radio hits that blend together. They are and will be nothing more than shopping mall music to appease the masses, with one or two guilty-pleasure songs that will be turned into remixes later down the line.
But by saying that, it's hard not to mention its success on the Internet and the impact it had on her predominantly young audience. Almost every song became popular, and everybody, without even knowing who Swift is, knew at least one of her songs from the album. Now, that would all be great if it weren't for the fact that the songs are so hard to differentiate. When you hear five of them, it feels like you've just heard one (for example, Anti-Hero and Midnight Rain). The reason for that comes from their similar structure. They are all simple enough for the general audience to enjoy, but not too simple, so that her fans can have something to gush about.
The themes this time try to be more ''mature'' (tackling the theme of mental health), but again, not too complex so that her younger audience could understand it. It feels like Swift is restricting herself from showing her full growth and emotional maturity. The result is making the same album again, but with a pastel bow on top of it that her fans will undeniably love.
Now, saying all of this, I would be lying if I said this album doesn't have hits similar to Shake It Off or Love Story, for example, Karma or Anti-Hero. Some other songs I would mention include Question…?, Lavander Haze, and Bejewelled.
You can discuss this album for hours, all the small details and the big ones (like the disapointing mess that was Snow on the Beach and her collaboration with Lana Del Ray). The biggest problem I personally found was it's repetitiveness and its similarity with her other songs in her library (like Sweet Nothing/Mastermind or Question…?/You Need to Calm Down) . There is very little experimentation, and many songs stay in a some kind of a safe zone.
I don't think that this album deserves the praise that it gets, nor does it deserve the hate. It's her usual, not too flashy like Lover but neither ground-breaking like 1989. For the next album, I hope that it brings us something new, but by the looks of it, I'm not getting my hopes up.
I would give it a: Well if you know what kind of music Swift makes then you know what kind of album this is. Generic pop.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#live music#taylor swift#taylornation#midnights#the tortured poets department#1989 tv#fearless#debut era#lovers#red tv#reputation#taylor nation#tv#i love you taylor
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Uh-Oh, David Byrne, 3. March 1992.
Everyone has that one album from their childhood that opened their eyes to new perspectives, and they were never the same again after listening to it. For me, undoubtedly, it was Uh-Oh from David Byrne. At first, it caught my eye with its cartoonish album cover, which stood out from all of the ''serious'' ones. To me, it was a big mystery for many years. Until one day, I had the chance to hear it. It was an instant obsession; every song was perfect. I listened to it nonstop and knew every word to every song; it was the perfect album.
Today I feel a bit fed up with it, but the magic of this album is still there; every listen to it is different, and you feel like you are discovering something new every time you listen to it.
Even though I'm a big fan of Talking Heads, this album confirms the fact that I feel that his solo work is more creative, enjoyable, and not as stiff as many Talking Heads projects tend to be.
Now for the album itself, there is something for everybody. With its funky electronic dance sounds inspired by Talking Heads mixed with more traditional African and Latino music. It is tropically oriented, with an emphasis on the trumpet, different kinds of percussion, guitars, and interesting vocal arrangements. As well as bizarre lyrics that are a big contrast to the instrumentals, computer samples, and a dicent performance from Mr. Byrne.
The album is really hard to explain; even though every song is made out of the same elements, they are all unique and different from one another. For recommendation, I would say try Twistin' in the Wind (for its rap-like delivery of the lyrics and disorted voice effect that differentiates the two parts of the song), Monkey Men (with its serious tone and a Santana beat that just feels like he is singing alone in a disorted war zone in Vietnam), and A Million Miles Away from Home (for its summer energy and the feeling of togetherness and enjoyment).
Now, it is not all perfect. There are plenty of song parts that are messy; they sound unpleasent or unlistenable (but generally, when listening to Mr. Byrne and even Talking Heads, those things are expected). The single She's Mad, I find, is a bad representation of the album as a whole and is easily forgettable if we compare it to the other songs. But by far the biggest problem I find is the song list. Many songs don't get their shine because they are too far behind, like Someboy (that I find should have been the opening track) or something like A Walk in the Dark and Something Ain't Right, which would definitely fit the second half better and help lift it up.
To explain this album in some words, it would be the feeling of walking in the suburbs of a small coastal city and hearing street musicians making pure music with Davied Byrne as their lead singer. Just making and creating music.
I would give it a: Yes, for any Talking Heads fan or a person just interested in his music.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#live music#talking heads#80s music#80s aesthetic#david byrne#tom tom club#old music#vintage#indie music#90s music#2000s
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For the Night to Control, Electric Century, 14. July 2017.
I think the best way to start this review is with a personal anecdote. So, when I was suggested this album, I was weirdly surprised by it. I wasn't aware of the band, even though I felt like I had heard the name before. Well, I wasn't wrong; I did hear it, and for every My Chemical Romance fan,that may be the case as well. At the time of the band's breakup, bassist Mikey Way ventured to form Electric Century. Though I'm often reluctant to go and listen to bands side projects for their suspicious nature, this may be the right chance to fix my misconceptions.
Well, to cut a long story short, I did not enjoy it as much as I hoped. I had a really hard time getting through the whole album, finding myself skipping tracks or straight up stopping it midway. It did not help that the album is more of a mush-up of synthpop or techno sounds that I personally find unpleasant.
Now what made the album so hard to listen to? It is a mix of everything, starting from the strong dominance of the synthesisers in every single song that play mostly pretty simple beats to the contrast between up-beat dance music and an echo-stlye singing that is perceived to be more serious but for some reason uses more plesant or happier sounding scales.
And all of that is found in every song on the album. The majority of them are very similar, and in a way, if you heard the first one, you heard the rest. For some people, this is great, but honestly, when I listen, I would like to have at least some kind of verity, whether it is the tempo, genre shifts, or something else.
I am aware that I'm not the target audience for this kind of music and that the band may not take it too seriously, but like other their kind, I think they should experiment more and try some new sounds, for example, in Someone Like You or Until the Light Goes out on Me that have more emphasis on rock. As well, I found that in the last mentioned song, the female voice fits much better with the overall theme of the album, and I would prefer maybe a more female singer-centred album if they wish to go these routes again.
I would give it a: It's a more niche piece of music that will find its audience. Try the singles, and then decide for yourself if the rest of the album is worth it.
A big thank you to @r1talin-r4t for suggesting this album.
If you have any albums you would like me to review, feel free to suggest them as well,
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#electric century#mikey way#my chemical romance#music review#pop rock#synthwave
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Teatro d'ira: Vol. I, Måneskin, 19. March 2021.
After riding the success of their Eurovision win, the newly famous Italian rock band Måneskin followed their triumphant single with an internationally acclaimed album, Teatro d'ira Vol. I. A not-so-revolutionary peace of music, but definitely a different one considering the music landscape then.
The centrepiece of the album is ZITTI E BUONI. Songs following it were mostly made around it, so some of them may feel like plain copies of the single with some minor differences to make them distinguishable. This is especially the case with the Italian songs.
On the other hand, we have the two English songs, I WANNA BE YOUR SLAVE and FOR YOUR LOVE. Honestly, they are horrendous and nothing more than parodies of American rock songs. They just sound embarrassing, especially I WANNA BE YOUR SLAVE. A song that stunned me when I first heard it for its mediocrity and amaturism, I truly thought that it was a joke. But at the end of the day, it's nothing more than a song that was only put there to appeal to the English market.
Something to point out while we are talking about the English songs is David's voice. The performances were weak compared to the Italian songs. In the Italian ones you could feel his emotion, his pain, desire, anger but here they felt soulless and dull, and the simplicity of the lyrics only impacted the delivery more.
On the brighter side, the Italian songs (that are the majority of the album) are fairly decent and solid rock songs; the standouts for me are definitely ZITTI E BUONI, LA PAURA DEI BUIO, and the lovely VENT'ANNI.
All in all, it's a standard rock album with good performances by the band. The impact of their fashion style, on-stage energy, European roots, and overall image helped them a lot to achieve their status and make this simple album something special.
I would give it a: If you can ignore some parts of it, you'll have a pretty decent time listening to it.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#live music#maneskin#damiano david#thomas raggi#vic de angelis#victoria de angelis#ethan torchio#eurovision#alternative rock#rock#punk rock#eurovison song contest#zitti e buoni#lonliest#rush#honey are you coming?
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Igor, Tyler, the Creator, 17. May 2019.
Tyler, the creator, is definitely an interesting artist. I quit enjoy his style, his character, and the imagies that he builds up for every new era of an album. But, saying that, I'm not the biggest fan of his music or the genre as a whole. Having listened to many of his songs, I realised that I find them quite unappealing and a bit annoying.
With that in mind, there is no better album to review than the well-acclaimed IGOR, the famous album that is considered a genius piece of music that is loved by the majority of music audiences. Hearing it at the time of the release, and now I don't feel the connection that I thought I would have. At the end, it turned out to be nothing more than repeating patterns with some memorable beats and one-liners.
My opinion on the majority of these songs is that they are long, but the length is not the problem, but the fact that nothing interesting happens in them for the most of the time, and then all of a sudden, when something does happen, it's short and bittersweet.
The sound itself feels uneven, like the syncing of the songs is all over the place. Mashing Tyler's deep, crunchy voice with more industrial and softer beats sounds kind of unlistenable like in the PUPPET or I THINK. Some songs even sound like purposefully made industry indie rap songs with catchy hooks that are only used for trends on social media.
The only two songs I would recommend are IGOR'S THEME and EARTHQUAKE. They are great opening tracks and some of the most memorable, but do expect that the rest of the album is nothing like them and is more of a mash of different sounds, techniques, and all in between. EARTHQUAKE is the first song I listened to by him, and even though I found it a bit stale, it is definitely my favourite from the album.
I would not like to discredit this album; there is a lot of work and love put into it, but I just don't understand it. When should I even listen to it? It's neither calm nor energetic; it's a pure mess. Maybe that is the point, but even so, I don't find it appealing. Again, I don't want to discredit it, but I feel that now, in this moment, I'm in a limbo considering it.
I would give it a: Well, if it were up to me, then I would say no, but considering it's cult status, then I would say, I guess.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#igor#tyler the creator#odd future#rap#indie music#indie rapper#flower boy#call me if you get lost#cherry bomb
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ye, Kanye West, 1. June 2018.
Ye, a piece of music that is often forgotten and overshadowed by West's more successful and celebrated albums. An album that is more remembered for West's media outbursts than the truly great peace of music that it is.
The album is raw; West lets everything loose and exposes his more personal and coherent side of himself. In a way, it's honest, like the usual West, but presented in a more serious light.
It consists of six songs, all well connected. So well in fact, that it does not even leave you with a feeling of needing more from it.
The album starts with a shivering monologue from West addressing someone; I think it perfectly shows what you're getting yourself into. On the contrary, the album ends with a recording of Nicki Minaj, which is a small Easter egg associated with the song Violent Crimes.
Now, Violent Crimes is, for many, their favourite song from this album or in general. In my opinion, knowing the heart-touching message it sends, It feels dull. I don't find it as eye-opening as many others, and on my first listens, I found it a bit bland and stale. The other songs easily overshadow it.
On the other hand, there is Ghost Town, a song that got me into this album and made me feel the same way as when I heard College Dropout for the first time. It consists of features like PartyNextDoor, Kid Cudi, and 070 Shake, who has a hauntingly hard-hitting verse that sounds like a child is singing it; it's upbeat as well as sad; and her features on the rest of the album are definitely one of the highlights. Another thing I found great was West's singing, and I wish to hear it more in future projects.
Like usual, you'll find great samples that are staples of West's music, like in Wouldn't Leave. Unfortunately the versus that accompany them this time fall a bit flat, but none the less, they did not diminish the overall experience.
To end on a personal note, I consider this album a staple part of my music journey. It helped me through some difficult times, and now, looking back at it, I'm happy I gave it a try.
I would give it a: Hm... it doesn't make itself pretty; it doesn't care if you like it; you just kind of tag along with it.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#50 cent#live music#old kanye#kanye west#kanye yeezy#yeezy#nicki minaj#north west#rapper#jay z
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Folie à deux, Fall Out Boy, 16. December 2008.
Folie à deux is an interesting album, knowing that it comes from a generic 2010s comerical band. It feels like their whole early career was leading up to this album; it marked a time where the band was striving for something more complicated and different from what you would hear usually, not only from them but the genre as a whole.
The album is a mash of songs that, at the same time, are distinguishable as they are similar enough to flow well in the album. The thing that makes this album stand out from the usual is definitely the successful merge of strong lyrics (that are effective enough so that you can scream them out without sounding cheesy) with different beats and the soul-like voice of Stump.
His voice is a hit or miss; he has the control and the knowledge on how to use it, but it's super pitchy. He ends up sounding like a generic pop singer, for example Justin Biber. But for some reason on this album, he sounds like he is more in his own skin and feels pretty natural, even hitting some more than usual lower notes.
If I could, I would put the whole song list as a recommendation for this album, but just to give you a sneak peek, here are some of my favorites: 27, She's my Winona, Headfirst Slide Into Cooperstown on a Bad Bat.
One song that always bugged me was What a Catch Donnie; knowing its popularity, I expected more. It's the weakest song on the album (personally), and even though it tries to be more of a retrospective of the career thus far, it falls a bit flat.
I found that it was pretty hard trying to get into this album, and even still, I have some trubbles with the second half of it. But as a person who dislikes many of their songs that I enjoyed before, I found that this album grew on me and is the only reason I still listen to Fall Out Boy today.
I would give it a: Be open to it, try a song or to and decide for yourself.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#fall out boy#fall out boiiiiii#fall out girl#patrick stump#pete wentz#2000s emo#pop punk#early 2000s#2000s nostalgia#take this to your grave#what a catch donnie#sugar we're goin down#panic! at the disco
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KIDS SEE GHOST, 8. June 2018.
Ever since I got into West's music, the name of a certain collaboration album would often be brought up in discussions. Before I even listened to it, I knew something was up, with its stricking title and its bizarre artwork on the cover. The album I'm talking about is none other than KIDS SEE GHOST a collaborative project between Kanye West and Kid Cudi.
Before I say anything, I would like to mention that my opinion today is neutral. The album is kind of unreal, and even after many listens, it still gives me a feeling of anxiety, as if I'm experiencing a bad trip. I still don't get it, and every time I'm finished, it leaves me with more questions than answers. It sounds like the soundtrack to an equally mind-twisting film, and even then, I don't think I would understand it.
The song list is wild. The mood changes non-stop; one second you're having your blood boiled with Feel The Love, the other second you're filled with envy from Fire, with its haunting acapella arrangements and a marching beat, to stirring verses of 4th Dimension that still give me the creeps. And everything ends with a crescendo with the song Cudi Montage.
Freeee (Ghost Town pt. 2) and Kids See Ghost are, for me, the weakest tracks. Personally, they feel a little amaturish compared to the rest of the album, and I found that the choruses get pretty annoying over time.
It would be hard to label this as a normal album because it's everything except that; it's nothing you've heard before, especially when it comes to songs that were popular at the time. Does it deserve the hype? It's hard to say because not everyone will find it pleasant. Believe me, it's kind of hard.
I would give it a: It's hard to get a grasp of the album. The fans of the rappers will definitely enjoy it because it's a surprising addition to their great catalogues, but someone who is not into rap may find it unlistenable, so in that case, I would leave it alone. It's not for everyone, and it's ok if you don't see the fuss surrounding it.
If you found my review worth discussing in any way, I’m happy to do so.
Yours trully,
MJ.10.
#music#music blog#live music#new music#old kanye#kanye west#kid cudi#kids see ghosts#yeezy#50 cent#jay z#mbdtf#college dropout
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Three Cheers For Sweet Revenge, My Chemical Romance, 8. June 2004.
Three Cheers For Sweet Revange, an album often conected with 2000s pop-punk and a staple part of emo subculture on the Internet. Today it’s remembered as nothing more than a joke and a laughing stock to many onlookers, but I’m here to prove you wrong and show you how behind these emotionally charged teenage songs stands an unbelievably great rock-metal album that is worthy of respect.
Helena and I’m Not Okay (I Promise) are songs that first come to mind when you think about Three Cheers For Sweet Revange , but I would say that they are nothing like the rest of the album and stick out unplessaently when listening to it; I would even say they are nothing more than a commercial pop-punk songs for MTV to bring a bigger audience to the band. It’s a shame because, without them, the album would be much more powerful as a whole.
Besides that, the album is filled with impressive guitar riffs, heavy basses, and an amazing vocal performance from Way. Even though some people (as well as me) find his voice a little like that of a preteen boy and can’t take him seriously, he still gives some amazing performances. For example, in I Never Told You What I Do for a Living, where he literally rips his voice to shreds (personally, that song could destroy the whole MCR image in seconds).
The most heavy songs are at the end, which I find pretty sad because you need to skip the awkward first faze (that is definitely not for everyone) to be able to hear songs like It’s Not a Fashion Statment, It’s a Deathwish, or Hang ‘Em High.
The Ghost of You will always be my favourite song from this album. It’s so heartbreaking, and it always gives me the shivers. It has one of the best guitar-to-voice blends ever and a beutiful music video that accompanies it.
I would say this album is a blend of artistic softnes and heavy metal sounds; it’s unique with its details, like visals, distorted voices and beats you would often associate with different genres, and amazing texts that would put any writer to shame for their maturity and honesty.
All in all, if I need to describe this album in a couple of words, it would be like listening to an 80s dracula, emotionally deceiving you with its vulnerability by screming at you. It’s kind of weird.
I would give it a: Don’t judge the book by its covers; it may surprise you.
If you found my review worth discussing in any way, I’m happy to do so.
Yours trully,
MJ.10.
#music#music blog#new music#mcr#mcr5#my chemical romance#gerard way#frank iero#ray toro#three cheers for sweet revenge#black parade#mikey way#my chemical fucking romance
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Pet Sounds, The Beach Boys, 12. July 1965.
Pet Sounds is one of music's most influential albums. Even though it's regarded as one of the greats and no music discussion can be held without mentioning its name, there are many people who haven't listened to it fully but just know the complexity of making it. I was one of them, knowing the name and thinking that it's just another older, maybe a little overated album from a widely acclaimed band, nothing special.
Well, how wrong was I. The album is an emotional rollercoaster and it touched me more than any album before. It hit my heart and brought me to tears.
Personally, it has one of the strongest intros ever, Wouldn't It Be Nice. Straight out of the bat, you hear the lovely harmony, the piano melodies, and fufuling instrumentals. The technical aspect of not just this song but the album in general is breathtaking, and it shows.
With every song I felt a personal conection and an emotional bond so It is hard for me to pick a favourite, but still, here are some that I enjoyed the most: You Still Believe In Me (a cute, sweet, and straight-to-the-point song), I'm Waiting For The Day (an optimistic song with standout precaution parts), Sloop John B (with it's signature Beach Boys vocal performances that always amezes me), and Here Today (with its deep horns and low tones that go well with Wilson's more high-pitched voice and hard-hitting texts)
And how can I talk about Pet Sounds and not mention God Only Knows, a simple love song that I consider one of the best of all time. I'm not sure why, but maybe it's because of the delivery or its simplicity ; it perfectly describes the idea of Pet Sounds.
One negative thing I would like to mention is the tempo, the album is slow, to the point where you forget what song you're even listening to because they all start to sound the same. The calm energy and the same Wilson pitch can get a little bit annoying after some songs and unattractive to many.
To end this, I could talk endlessly about Pet Sounds and its details, but to not make this post too long, I think this will be enough. It's hard to find many flaws in a piece I hold dear to my heart. When you love something, you often ignore the not-so-plessent parts of it, but in the case of Pet Sounds, I don't mind it.
I would give it a: If there is any album I would recommend, it is this one for sure.
To get the idea of Pet Sounds, you need to listen to it as an album, not as randomly shuffled songs, because then you will get, like I said before, a weidly overrated album, but if you give it some time and try it I think it will do its job.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
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Cracker Island, Gorillaz, 24. February 2023.
I must say this was a pretty big disappointment from Gorillaz, and it's not a secret that I feel that this album is less than enjoyable. Knowing the extremely powerful creative force of Gorillaz, you would expect from Albarn something more than a rough draft of a rookie artist's first album.
Even the art department got the short end of the stick. Knowing all the great album covers, like Demons Days and Plastic Beach, this one ends up being nothing more than a badly done digital sketch of the final idea.
To start on a high note, the two singles, Cracker Island (featuring Thundercat) and New Gold, were decent. Two totally different songs, but none the less something you would expect from Gorillaz. New Gold is my favourite of the two; the psyhadelic Tame Impala voice perfectly blends with Bootie Brown's more funky-disco rap voice; even Albarn's voice was very nicely complimented in here. A great calm disco beat that is in a way modern but still has the Gorillaz stamp of approval.
The second single, Craker Island, was promising enough, but it didn't deliver as expected. The song overall is great; the instrumental beats were the standout, and if I may say, one of my favourites in general, so it's such a shame when you hear Albarn's not-so-singer voice get into the mix. It was rough and unpolished, and it destroyed the whole song for me. His strong British accent doesn't fit well as a lead disco singer.
But if I had to pick one song where it surely fits, it's Possession Island (featuring Beck). Unfortunately, it doesn't have any connection with the rest of the hyper-beat, disco-esc album and it is easily forgettable.
The rest of the album is all over the place, from Spanish pop-rap to slow orchestral baleds to, personally, one of the worst Gorillaz songs, Skinny Ape, which is a hyperbeat mashup of everything and anything. It's every ear's worst nightmare.
Even though genre mashup is what you expect from Gorillaz, you would at least think that it all has a certin flow to it and not the feeling that they threw everything on the wall and saw what sticks. If you are unable to produce something coherent, is it even worth it in the long run, not only for the artist but for the fans as well? It's hard for an album to just stand with two singles holing it up, but it's not the first time Gorillaz has done it.
I would love to have a different view on this album, but maybe at the moment it's not the right time.
I would give it a: You can skip this album easily. It's not even close to their best work, and for me, it's a waste of time. I would much rather recommend Plastic Beach if you haven't heard it and want to feel the full Gorillaz magic.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#live music#new music#gorillaz#noodle gorillaz#russel hobbs#2d gorillaz#murdoc gorillaz#cracker island#demon days#plastic beach#2000s
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Rubber Soul, The Beatles, 3. December 1965.
Before I say anything, this album was the first album that I ever purchased. It had been my favourite for many years, and it began my years-long obsession with The Beatles. So no matter what my opinion is on it, it has a special place in my heart, and without it, there wouldn't be MJ.10 today.
That said, looking at it today, I couldn't disagree more with my younger self. I don't enjoy it that much and find myself skipping its songs whenever I'm trying to listen to The Beatles.
It's a bit forgettable. I don't consider it the big influence as many people would give it; for me, it's just another eraly Beatles album that just replaces suited-up 60s pop with sitare singing clean hippys. Use any Beatles song before this album; give it a late 1970s-type beat, and you'll get a Rubber Soul song.
That said, they wouldn't be The Beatles if they hadn't had a pearl or two in this sea of seaweed.
The song I find that saves this album (at least for me, now) is Girl. The song is dark and hard-hitting, in a way that is serious but emotional. With every word sung, you feel charmed. It's like the singer is singing straight to you, but the things he's saying are painful. The airy breaths and hard guitar beats only enhance the experience. I can wholeheartedly call this the best Beatles ballad.
In My Life and Looking Through You, are songs that had the most potential but ended up failing because of their upbeat instrumentals. Thankfully, In My Life has a gorgeous cover from Johnny Cash that I think gives the song the justice that it deserves.
Other mentionable songs like Norwegen Wood, Drive My Car or Nowhere Men even though important peaces of Rubber Soul fall flat and souless. They are trying to tackle meaningful topics, but with a clean filter that gets rid of the ugly parts and a sound reminiscent of their teenage years.
At the end I will say this is the transition period where The Beatles are experimenting more, especially with the sound. I'm not the biggest fan of their more experimental projects. They're just all over the place, and I don't know what to even say about them.
I would give it a: It's complicated. I would go and try a song or two from it just because of it, but don't expect much. The whole middle era of the Beatles is easily skippable, but at the end of the day, it mostly depends on the person listening to it.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#live music#music#music blog#new music#the beatles#now and then#paul mccartney#john lennon#ringo starr#george harrison#rubber soul#sgt. pepper's lonely hearts club band#60s
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evermore, Taylor Swift, 11. December 2020.
Were to start with this one,
Well, like many music lovers, I found it hard to get into Swift's music. Personality: even though I knew many of her pop singles and even enjoyed some of them, I had a hard time getting into her albums as a whole until I heard about evermore.
While listening to this album, I felt like I was in a fairytale, somewhere in the woods. It's afternoon, and I'm running in a field. It's lovely. The blend of indie, country, and pop, with slow rhythms and a quite undertone with a more mature than usual feel, describes this album perfectly.
Songs like willow (which I find is a perfect mix of indie acoustic and a radio sweet heart), cowboy like me, no body, no crime (feat. HAM), and even coney island , where her high voice blends lovely with The National singer Matt Berninger, left me singing even after the album ended.
Unfortunately, the rest of the album is a little half baked; some songs break the magic of it and are a little repetitive and industrial, so you just want to skip them half way into the songs.
Another point to mention is the ending song evermore (feat. Bon Iver). It was pretty disappointing after some great songs that were before it. It felt tiring and a bit bizzar, to say the least, but if I can recommend it, definitely try exile, from the same duo from her album before this one, Folklore, which I think did a better job than this song.
In conclusion, the album is not perfect; it is far from it, and for many long-term music listeners, it may be nothing special, but it is definitely an album to try if you want to get the feel of Swift in a different light than her usual. She still has a long way to go in her artistic career, but at this pace, we will see...
I would give it a: I'm not sure, but I would try it if you're not interested in her other catalogue but want to get the feel of her. Just be prepared for some repetitive pop elements that maybe don't fit the mood of the album.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#taylor swift#1989 taylor's version#taylornation#i love you taylor#the eras tour#1989 tv#evermore#reputation#pop music#indie music#taylors version
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Albums reviewed.
(Note: If you see a black line where the link is supposeed be, that's the link)
ARCTIC MONKEYS:
The Car, 2022 - M.J.1.0. (tumblr.com)
DAVID BYRNE:
Uh-Oh, 1992 - M.J.1.0. (tumblr.com)
ELETRIC CENTURY:
For the Night to Control, 2017 - M.J.1.0. (tumblr.com)
FALL OUT BOY:
Folie à deux, 2008 - M.J.1.0. (tumblr.com)
GORILLAZ:
Cracker Island, 2023 - M.J.1.0. (tumblr.com)
KANYE WEST:
Late Orchestration, 2006 - M.J.1.0. (tumblr.com)
ye, 2018 - M.J.1.0. (tumblr.com)
KIDS SEE GHOSTS:
KIDS SEE GHOSTS, 2018 - M.J.1.0. (tumblr.com)
MÅNESKIN
Teatro d'ira: Vol. I, 2021 - M.J.1.0. (tumblr.com)
MY CHEMICAL ROMANCE:
Three Cheers For Sweet Revange, 2004 - M.J.1.0. (tumblr.com)
TAYLOR SWIFT:
evermore, 2020 - M.J.1.0. (tumblr.com)
Midnights, 2022 - M.J.1.0. (tumblr.com)
THE BEACH BOYS:
Pet Sounds, 1965 - M.J.1.0. (tumblr.com)
THE BEATLES:
Rubber Soul, 1965 - M.J.1.0. (tumblr.com)
TYLER, THE CREATOR:
IGOR, 2019 - M.J.1.0. (tumblr.com)
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Welcome to MusicJam10
Hi I'm MJ.10., a digital DJ.
Welcome to my music blog, where I'll be giving my thoughts on some albums and songs that I find interesting. I have a big collection of albums that you may find interesting, so please stay if you want to know more.
I'm open for recommendations,
Unfortunately, I'm not aware of all the music in existence, so if you want to contribute by giving me a suggestion for an album, song, or artist, I'm happy to check it out and review it!
If you're interested in what I reviewed now, click here:
M.J.1.0. (tumblr.com)
Spotify playlist,
I made a playlist of all the songs mentioned in my reviews for easy access:
https://open.spotify.com/playlist/3z52oMACU3PWs5f0T3T7Zm?si=48bc6665ce2c4714
Rate my music account:
Profile: MusicJam10 - Rate Your Music
For any kind of question, recommendation, or discussion, I'm open, so feel free to message me!
Thank you for stopping by.
Yours trully,
MJ.10.
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The Car, Arctic Monkeys, 21. October 2022.
To give you an introduction to this album, just imagine yourself in a car late at night, driving with somebody. It's mature,intimate, sudoctive, quiet, and calming. A big contrast from the usual Arctic Monkey catalogue.
Because of that, many long-term Arctic Monkey fans try to ignore it or not give it much attention, but I would disagree strongly with them.
After many listens, I fell in love with it, and I think it stands strong with the likes of AM and Favourite Worst Nightmare.
I instantly fell in love with it when I heard the first sounds of it. The mix of vocal harmonies, orchestral instrumentals, and a jazzy-soul sound can be heard throughout the album.
All songs are perfectly connected to tell a coherent story. If I need to pick a favorite track, it is definitely Body Paint or Big Ideas. Even though I do have favorite songs from this album, I find every song wonderful, and find that every song that comes after the last enhances the experience of listening to it. It's hard to express this album in words. I find that you need to listen to it, to get the feeling of it. I encourage anybody to listen with headphones because it feels like an out-of-body experience.
Sadly, the weakest part of the album was Turners's voice; it kind of sounds childlike, and it feels like he's trying to push his voice in different directions, but with various outcomes. None the less, after some listening, you get used to it, and it does not worsen the experience overall.
Another point I would bring up is its run time; it clocks up to around 30 minutes. I found it a little disappointing because the album flies by in a minute when you get into it. As well, it doesn't help that, for me, the weakest song is the closing track to the album Perfect Sense. It feels like it just wants to say, "Okay, it's over. Why are you still here? Go now!''.
To sum up, the band has grown, as has their music, and by the looks of it, it's here to stay for the future. The album is a new direction, softer, more elegant sound that experiments with different types of musical expression.
I would give it a: Big recommendation; it may not be for everyone, but that is not the reason to skip it.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#music blog#arctic monkeys#the car era#am arctic monkeys#favourite worst nightmare#alex turner#the last shadow puppets
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Late Orchestration, Kanye West, 24. April 2006.
Late Orchestrations is definitely a gem in the sea called Kanye West. A full orchestrated live album of songs from Collage Dropout and Late Registrations.
The set list is kind of so-so; it combines the best parts from the College Dropout and, personally, the most boring parts of Late Resgistrations. The beginning starts strong with Diamonds From Sierra Leone and Touch the Sky, but after that, it all goes downhill for a while until the pace picks up with songs like Through The Wire and Workout Plan, which I find the highlights of the album. So it surely is a shame that when I try to listen to the album from start to finish, I need to get by songs that feel lacking.
Personally, it's a shame that songs like Roses, Slow Jamz, and even Mama were not included but could have had an amazing orchestral performance.
With that said, the songs that are there do feel mesmerizing, and I can even say that I find some of them more enjoyable than the original. As well, I'm glad that the soundtrack left West's interactions and crowdchers in. Personally, I prefer live albums over studio recordings for their raw feeling, and I find that you can appreciate an artist's talent on another level, which is the case here.
This was one of my first introductions to West's music, and I must say that after this, it was hard to get into his more experimental, newer things.
It definitely is a starting point and a very good one, especially for someone who's interested in mashups of classical and hip-hop, but that said, it's not representative of his career as a whole. Late Orchestrations marked a milestone of two great albums, and it definitely shows, and for any fan of his or hip-hop in general who is interested in hearing his songs in an altered way, it is definitely a good listen.
All in all, this is not a bad live album. For me, not his most must-hear thing, but definitely a good one to accompany the two albums before.
I would give it a: try it, you may find it enjoyable.
If you found my review worth discussing in any way, I'm happy to do so.
Yours trully,
MJ.10.
#music#kanye west#hip hop#late registration#college dropout#music review#music blog#old kanye#yeezy#50 cent#jay z
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