Great looking one-day symposium: Queer Utopias.CFP: Camps, (In)justice, and Solidarity in the Americas – Commemoration of the 20th Anniversary of the Guantánamo Bay Detention Camps. CFP: Kinship in the Fiction of N. K. Jemisin: Relations of Power and Resistance. CFP: SFRA Panels at ASLE 21. CFP: Migration and Exile in Science Fiction. CFP: Black Feminism on the Edge. CFP: The Routledge Handbook…
Spencer (Pablo Larraín) Language Lessons (Natalie Morales) Hive (Blerta Basholli) Holler (Nicole Riegel) The Novice (Lauren Hadaway) Preparations to Be Together for an Unknown Period of Time (Lili Horvát) Wildfire (Cathy Brady) Sisterhood (Dina Duma) Nomadland (Chloé Zhao) Beans (Tracey Deer) Saint Maud (Rose Glass) Charter (Amanda Kernell) Minari (Lee Isaac Chung) Dune: Part One (Denis Villeneuve) Luzzu (Alex Camilleri) Boiling Point (Philip Barantini) Old Henry (Potsy Ponciroli) The Power (Corinna Faith) Censor (Prano Bailey-Bond) Pig (Michael Sarnoski) Kindred (Joe Marcantonio)
I did some art for my nosferatu boyman Herbert. He had been living a life of isolation back when he first became a nosferatu. But he found something to do and companionship in computers and the blossoming internet. (It is the thing one he has in common with many Nosferatu.)
I like to stay active and engaged in art and the art/vtm community at the moment. So if you have any questions about him, for him or anything else, feel free to ask!
So. I know there’s a lot of debate about Spirit Blossom.
Just here to say I like SB Kindred and, while it’s weird for a Thresh skin, I like the design and character of SB Thresh. I also like how they did the missions with Spirit Bonds.
Also I read that short story that started it, and ngl, I thought the puppeteer was Jhin.
I do this little list every year of my favorite albums that fall mostly “outside” the metal sphere and weren’t so metal-adjacent that I reviewed them formally during the year. The past three times I have written this little piece, I have kept it to five, but *this year, I’ve just had a hard time narrowing it down, so I figured, why do that? Well, I could go through a few dozen albums or so that I fucked with this year outside the metal sphere, but I’m compromising with the addition of a new, quick (we’ll see) honorable mention section.
So, in the interest of keeping my verbose tendencies in check, I’ll cut this introduction off and get into the honorable mentions.
Honorable Mentions:
Anna von Hausswolff -All Thoughts Fly
I did review Anna von Hausswolff’s previous record, Dead Magic, back in 2018 as part of my bunch of metal albums reviews that year, because it was kind of tangentially metallic. It wasn’t a lot at a technical level, only a few metallic elements here no there, but it had a lot of harrowing qualities that I thought metal listeners might appreciate. For the Swedish singer and pipe-organist, that album really was the closest she ever came to metal’s territory, and I don’t think any flirting with the genre was intentional on her part. Most of what she does is haunting, neoclassical, organ-based music that’s usually not as wild as what Dead Magic was, and this year’s album is a real scale back to her roots and an appreciation for the pipe organ. While I do miss her bewitching vocals on this entirely instrumental album, All Thoughts Fly stands well on its own merits as both a solid tribute to von Hausswolff’s organ playing and as a beautiful, incredibly immersive ambient album that does so much with its relatively small palette. I’ve talked a few times on here about really shitty ambient music that’s approached with a clearly lazy attitude because of its supposed background role. Rather than being made to be ignored, All Thoughts Fly pulls you in and around in a swirl of lush sounds that aren’t too common in ambient music, and with a relatively minimal approach, relying on the naturally serene tambre of the instrument to fill the space with a lightening, floating ambience and well-structured movements to do the gentle moving. It’s a beautiful example of what an ambient album can achieve if it’s actually made with a lot of love and care.
Shabaka & The Ancestors-We Are Sent Here by History
Okay, that first one went pretty long. I’ll try to keep the rest of these here relatively short. Sons of Kemet band leader, Shabaka Hutchings, takes his other group on slightly less chaotic Afro-jazz odessey that what Sons of Kemet have been delivering us. While more contained on the surface within the genre’s usual light grey areas, Shabaka & The Ancestors move with freedom and flexibility on this album in a way that highlights the natural appeals of the Afro-jazz sound pallet through constantly engaging arrangements from masters of the craft.
Lady Gaga-Chromatica
I know we’re all well aware of Lady Gaga, but the pop icon has been relatively quietly been making the best music of her career since taking the edge rather than the center of the spotlight, from 2013’s diverse Artpop to 2016’s more bare-bones Joanne. And now, after her mellower, more traditional Americana-influenced album in 2016, Gaga cranks the volume and the fun way back up. Chromatica is a blast of an album whose wide span of dance pop albums influences new and old keeps it varied and lively all the way through. This album feels very much like it’s Gaga unleashed, just doing her thing and having a good time with a bunch of dance music styles that she’s always loved, and it’s impossible not to feel that enthusiasm secondhand, and groove the hell out along with it.
Black Thought-Streams of Thought, Vol. 3: Cane & Abel
Black Thought has had nothing to prove since the relative inactivity of The Roots this past decade, but he has sure been rapping as if he does have something to prove on his solo work. The Philadelphia rapper put out a couple of EPs back in 2018 that showcased his impressive modern lyricism and flow, and the third, LP-sized installment in the series is just another offering of further proof of the man’s lyrical chops. There’s a little bit of an understated delivery in the music overall, but Black Thought really lets his words speak for themselves more than his moderate bravado. It’s not super flashy because it doesn’t need to be.
Phoebe Bridgers-Punisher
Indie folk has always loved to soak in the puddles of personal sadness, but Californian singer Phoebe Bridgers takes the style to whole new depths of personally gripping, bordering on the outright emo, and that is by all means a compliment for rather than a shot at. The album’s candid journaling of Bridgers’ personal struggles is so tangible and so genuine that it would probably rival Connor Oberst’s best work with Bright Eyes. It is just a beautiful, yet tear-inducing album.
Alright, now on to the five “main” “non-metal” albums of the “list proper”.
Hexvessel-Kindred
Hexvessel are a Finnish six-piece whose sixth album of psychedelic folk here manages to touch on the same haunting, gothic tones that groups like Opeth and Gazpacho do at their most forest-y. Indeed, Kindred is an enchanting album, with sprawling styles and a full-bodied sonic pallet to keep it interesting the whole way through. And it’s as strong in its more bombastic song like that which opens the album as it is in its more stripped back acoustic tracks like that which closes it. Songs like “Magical and Damned” straight-up evoke Mount Eerie, while songs like “Kindred Moon” hearken to The Beatles at their most minimal and folky, and there’s plenty of spooky, mystical energy to go around. Definitely one of the best finds of the year for me.
The Strokes -The New Abnormal
Coming at the end of a seven-year gap between it and their previous album, 2013’s somewhat fan-polarizing Comedown Machine (which I liked a lot), The Strokes’ aptly named return is a return to the spotlight, but hardly to normalcy or the musical roots in garage rock that so many of the band’s fans have been sweating for. Twisting the electronic alternative rock of their Angles era into some odd, but mesmerizing forms, The New Abnormal is a subtly wild ride of an album through lots of melancholic overtones and undertones whose impact is made all the more potent by the occasional teasing of sorts with the few more traditionally rockin’ moments on here. It doesn’t take long to pull back the seemingly preppy synth rock or 80’s rock curtains to find the melancholy beneath “Brooklyn Bridge to Chorus” and “Bad Decisions”, respectively. But the band aren’t even that subtle with the immediate depression of just the straight-up guitar melodies on songs like “Selfless”, “Not the Same Anymore”, and the chill-inducing soar of “Ode to the Mets”. The album’s prize piece, though, has to be the utterly gorgeous and empathetic minimalist synth song, “At the Door”, whose simple melodies and bare delivery make for one of the most gently heart-piercing songs I know and of my favorite songs of the year and probably my favorite Strokes song ever, as hard as it is to listen to. Welcome back Julien and company.
Rina Sawayama -Sawayama
Quite possibly the best outright pop album I have heard in a long while, Sawayama sounds simultaneously fresh and vintage in the landscape it was born into, making use of a lot of early 2000’s pop rock instrumentation, even some heavy metal guitars here and there, but most importantly, a real sense of passion that seems to be flat-out absent from so much of the pop that I (usually inadvertently) hear. I don’t want to overstate the prominence of the metal elements, but the album does have a bubbling, infectious energy both vocally and instrumentally from front to back that the occasional bursts of heavy guitars between Sawayama’s charismatic, dance-inducing performances do provide a good snapshot of. Furthermore, there’s a rich diversity of song types across the album that dive into the pop sphere beyond the standard trend-hopping that dominates streaming playlists and make for a dynamic and fun, rather than disjointed, pop album. And that’s all only possible with the consistently tight compositions o the album. Indeed, this is one of the best pop albums I have ever heard, certainly in recent years.
clipping.-Visions of Bodies Being Burned
clipping. are the second artist to be on here two years in a row after last year’s spectacularly spooky There Existed an Addiction to Blood, and Denzel Curry’s one-two punch of TA13OOandZuu in 2018 and 2019 respectively. There Existed an Addiction to Blood was a thrilling and fresh take on many tropes of horrorcore with the band’s already forward-thinking and creative noise-driven instrumental production guiding harrowing stories of femme fatales and street violence in a more modern setting that often flipped the script on victims and perpetrators, as well as settings themselves. Visions of Bodies Being Burned is quite literally a continuing sequel to that explosive album, also released in time for Halloween this year; the material was recorded in the same sessions as the previous album and in the same unique vein. Consequently, there’s not really a whole lot I can say about this album in contrast with the last without getting way too in-depth and spoiling the fun. Whereas MC Daveed Diggs’ hooks were one of the biggest strong points of last year’s album, the creatively noisy production is the big star on this album. The fans seem to be leaning a bit more toward this year’s release, but I think I’m still a little partial to There Existed an Addiction to Blood. Nevertheless, Visions of Bodies Being Burned is a blood-pumping follow-up not to be missed.
Mac Miller-Circles
The posthumous release from Pennsylvanian rapper Mac Miller captures the man at his most chill and contemplative. The album is more of a minimalist ambient singer-songwriter sort of album than hip hop and its serene atmosphere becomes kind of inadvertently tragic in the posthumous context, but it serves as a beautiful swan song for the creative rapper whose struggles with addiction sadly prevented him from being able to bask in the deserved wide appreciation of his sixth album. Circles is a soulful, bittersweet cap to Mac Miller’s legacy that I think anyone will be able to feel the love and raw humanness of.
