Wednesday, 16 April 2014

Track Review: Lana Del Ray - West Coast


A YouTuber’s dramatic glamorisation of Lana Del Ray as "Hollywood Sadcore" seems somewhat apt for her new single "West Coast". The East Coast singer-songwriter has put a distance between herself and her female peers by creating sophisticated and minimalistic pop. But it’s her character and style which has catapulted her to stardom. Ultraviolence has been said to be more cinematic, as expressed in Lana’s short film Tropico with songs “Bel Air” and “Gods & Monsters”. With Tropico, it was clear for all to see that Lana wants to pull the pop from her under her feet.


West Coast” doesn’t quite align Lana with soul, or hip-hop as others would suggest, but it does pump Lana and her co-writer here (Rick Nowels) to a lyrical quality not often found in popular music. She references the West Coast’s music and film industry, relating it to her own story and life. The instrumental is one of the best yet, produced by The Black Keys' Dan Auerbach. Tempo changes are unusual to come by in the pop world today, and “West Coast” has an imaginative shift egged on with the electric guitar accompaniment. “West Coast” actually comes across as Lana’s best song to date, lyrically and musically. The temp shift is effective, and creates a breeze of fresh air with the chorus, making the following verses worth the wait, rather than an expected arrival. Ultraviolence’s promise of a darker feel so far seems true, with culture influences expected to take over Lana’s music – note the West Coast hip-hop synthesizer in the outro.... (and the coy nod to The Doors' "Light My Fire".)
~Eddie Gibson

Originally posted by Eddie on The Naional Student here.

Saturday, 12 April 2014

Track Review: tUnE-yArDs - Wait for a Minute


It's almost been three years since Merrill Garbus released her sophomore album w h o k i l l under the pseudonym tUnE-yArDs. The album which was an alternative highlight of 2011, still gets regular plays in my library - and many others due to its timeless potential class. "Bizness" had the single in the bag, while tracks like "Gangsta" and "Powa" offered that extra loop of percussion to keep the audience thrilled throughout. Well Garbus is back with her third album Nikki Nack, and its set to be just as meaningful and timeless as its predecessor. tUnE-yArDs has already released "Water Fountain", and now it's time for "Wait for a Minute".


"Wait for a Minute" brings together the sounds of Nikki Nack's pre-release single "Water Fountain", and the layers of w h o k i l l. Though song structure and instrumental building is Garbus' strong point, "Wait for a Minute" is all about her vocals and its progression from the beginning right through to the end. There's little room for the percussions to build as Garbus so easily takes centre stage: "I pinch my skin till I see the joints." The bass line, put with a striking right-sided synth creates an atmosphere not quite heard from Garbus yet - and though the percussion is mostly minimal at first, it does build, as Garbus' vocal does: "The pain is in the empty time, just twiddling my thumbs and hoping for the words to rhyme." It's different to what you've previously experienced with w h o k i l l, but "Wait for a Minute" and "Water Fountain" should give you an in depth listen to what to expect from Nikki Nack - a cooled down Garbus, more soulful, and more song oriented.
~Eddie Gibson

Wednesday, 9 April 2014

The Horrors - Luminous


The debate over  adding to a sound won’t be slowing down anytime soon thanks to the likes of The Horrors headlining that particular cornerstone of production-focused, effect-heavy performances as of late. The line between immersive and inaudible experiences has not only gotten thinner over the years, but the very opaque qualities it vouches to border off, have slowly blurred into each other - any attempt to distinguish returning a double-edged sword of both distraction and reward through such musical expressions. We’ve drilled this conversation down on the face of many shoegaze/dream pop/psychedelic efforts before: where do we draw the line? The answer(s), as they usually fall, lie long before any such analyses. It’s the melodies that are important; the song-writing, the engagement and overall sense of accomplishment that a five/six/seven minute possibility means to stand for in pushing beyond the convention of, say, a four minute equivalent. In this particular case - to avoid turning this into a punch-for-punch debate over this style and its feasibility - The Horrors' past two albums have shown a remarkable turn-around in using this krautrock-come-garage-come-psycahdelic navigation with a distinct use of guitars and synthesizers to help drag the band from out some frivolous-and-blinding identity crisis.

Evolution is the key here, and if this means that production choices become the deciding factor in the band’s musical genome, Luminous attempts to shine a light on tapping into (and perhaps correcting) what uncertainty lay dormant in Skying’s DNA, even if it means reaching for extremes in adapting their stride of melodic haze. However, as if the album's title perhaps is more the outfit's less-than-subtle assurance of the sensations we are to expect to this, Chasing Shadows is tangibly off-course from The Horrors' usual voyage of the psychadelic and the punk. A horizon-spanning synth takes up most of the near-three minute prologue, and while it still carries the same majestic qualities of any of their past electronic use, the patience at which this reveals itself is far more striking. Even as percussion comes into play and the focus idly pans between these intertwining rhythms, the attention is kept on the electronics. And as cumulative and speculative its sounds are, the eventual release of eclipsing guitar drone and Faris Badwan's higher register of vocals this time round, is no less a remarkable reveal. Gone are the creeping baritones of Primary Colours, and so too the loose post-punk favourings; in its place is a startling, daring, but rewarding flurry of guitar feedback, drum hits and synthesizer layering.

So it's a shame it has to be said that from out such a challenging - potentially high-risk - strategy in the album's opening, the band return to guitar-fronted 60's swirls in First Day Of Spring, with little of the previous track's ambition to push beyond the boundaries. There are of course the guitar melodies and healthy consistency of drumbeats churning through, but Badwan's vocals though don't quite relish in as much the same scope or depth. Disappointing considering the front-man's leap in vocal range from album-to-album has been one of the key attractions to the band's sound. An attraction that immediately comes full circle and strikes the listener with awe on So Now You Know, a song unafraid to mingle and mess with its instrument's physicality; clouding effects smothering the track's electric guitars and bubbly synth arpeggios. But not only is this an acceptable return, it's outright stunning in its delivery - Badwan's cry of the title lyrics soon followed by some of the band's most sonically fruitful and fascinatingly eye-opening of deliveries. In such a short space of time that is the track's choruses, everything from the grating guitar riffs, the echoey synthesizers just off-centre, the hump-backed repetition of bass; it's a perfect fit to an imperfect clarity of perspective and placement.

Imperfection is but a point of view though. And while some flaws are more clear to see, the benefit with a record such as this is that The Horrors recognize the bebefit of this perception; of this unbiased, non-partisan view on sonic opacity. Even with the faint aroma of reverb and the like on In And Out Of Sight, enough of a distinction can be made, and thus be respected, in the track's rickety synthesizers still managing to prevail. And together with a bass line more adjoined to groove rather than rhythm, not only is there admiration for this liberty at which Badwan gladly explores with his vocals (of which are blended and infused into this crystallizing harmony throughout), but the separation these instruments undergo doesn't break the track into a means without a cause. When all is as uniform as Jealous Sun is, the effect is just as swift, even dramatic; the more ground-up strum of guitars and slightly cinematic cry of strings drastically altering the scenery to that of some inescapable void or inevitibility; a gale of what sounds like wind gushing through the track like the band are less caught in the flare of our sun, and more in some impending doom just beyond the horizon.

The puzzling, and fairly ironic, turnabout of this album is that when The Horrors revert to their slicker, more post-punk leaning sound in a case like Falling Star, the effect of before - whether it be the eventual unleash after a patient build or the dense underlays of some form of narrative - the result suddenly feels watered down and incapable of matching previous bests. Here, in 'shorter' duration as if adding to this confusion, the hard-strung electric guitars and fairly quirky tone of synth keys don't hold up the same compellingness and depth - Badwan's vocals too coming across a fair bit unambitious; dawdling in the mid-drift of the production, much like the arrangement, which itself feels doesn't strike me as aspiring or even reaching to a higher goal like. A vast contrast to I See You's unhesitant transfer to exospheric heights with its looping synth arpeggios leading into farflung, panoramic guitar chords. Admittedly, Badwan's lyrics aren't exactly as dynamic or reflecting or representative of this same awe - 'see the way the valley starts to grow/every movement seems to be for you' - but in its off-kilter reflectiveness, the vocals can at least be considered simply part of the atmosphere rather than the driving force. Because from the monumentous scale and drive of the track's climax - hard-hitting drums; blinding streaks of guitars and synths - The Horrors at last realize their Contact moment; the moment wherein everything jettisons forward into some inescapable, indescribeable sonic odyssey.

Closing statements see the band lessen their robust, electronic fascinations; Change Your mind a valiant, though not-quite-convincing slow-down that fuses gentle caressings of guitar strings with Badwan's seemingly sincerer and softer side that unfortunately stands as the main criticism of this piece. Not that the variance is unwelcome, but given the mellower, reclined vibe of the song, Badwan's attempts don't exactly feel perfectly matched with the mood presented. Mine And Yours could be looked at equally as a homage as well as a welcome return to their first two albums' raw, punk affliction with guitar tone and the inescapable shroud emerging out. There's still that linger of psychadelic fluster amid the track's slide of guitar riffs, but this is another acknowledgements to their former shape, now given a livened-up lick of paint. Sleepwalk, though suggestsing perhaps something dizzying, maybe not-as-concerned with its surroundings, feels in places like the album's most concrete and direct attempt of the lot. Though obscured in recognizeable parts, the unfiltered drum hits on opening, lead on into a merry pulse of low-frequency throbs and synth notes that, again, don't feel as lost or as disillusioned with the decreasing clarity.

Admittedly, 2011’s Skying wasn’t the most clearest or even cleanest of productions. But even in such eye-whincing, exploratory deliverances, Faris Badwan and co’s refusal to let their self-initiation cloud over the already-foggy instrumentation - eventful break-aways via Endless Blue & Still Life being fond examples - left The Horrors with a satisfying tail of song-writing, even if such compounds remained awash in this atypical shroud of effect treatment and processing. Luminous will certainly disappoint those who agonized for something otherwise drastic, either something entirely new or maybe a brave return to their roots. But given this continuing step-forward, The Horrors keep firmly glued to the road towards the great psychadelic space in the sky, without forgetting about the finer melodic details that go whizzing by. But even at its riskiest and highest of stakes, in most cases the all-in's of long-winding build-up's and electronic-rock ambiguity serves well on a record similarly kaleidoscopic and eccentric with colour, but all the more treating this with some realistic and restrained expectation. Whether that be a patient or even anxious investigation, The Horrors all-in-all possess quite the favourable odds in not just voyaging into the grand space above us, but better yet coming back in one clear-headed, unphased piece thereafter.
~Jordan Helm

7.7

Track Review: Winger - Tin Soldier


One thing I do love about the world of music is how a forgotten band would come back in action. Even if it's a fail or not, I still find the outcome of some of these revivals very interesting. Winger have come from a lot of stick from many people and bands throughout their careers. Mike Judge was mainly notable with mocking them in his animated shows Beavis and Butthead, and King of the Hill, as well as Lars Ulrich throwing a dart at a poster of Kip Winger in Metallica's video for “Nothing Else Matters”. Apart from all the ‘they're wussy’ bollocks floating around, their first two albums were still brilliant in my eyes. They sold so much until the grunge scene killed off ‘hair metal’ bands. They've released two albums since reuniting and now they have another upcoming very soon.



However, they have a song that has been released, called “Tin Soldier”. It starts off with a repetitive piano riff that plays throughout, until Kip Winger provides the same riff on bass. Then it kicks in with an explosive fashion, and goes quite softer until the guitar plays through. Kip's voice sounds great after the amount of years since they got together in the late 80s or so. The music is so nicely done and yet here comes the solo. It's groovy solo, but the piano riff is a strange one, but the drumming is brilliant. It has a strange Radiohead feel to it, only Kip has an awesome power in his vocals that made him stand out when Winger smashed into the mainstream with their debut album. They are a glamorous and toned down version of a prog metal band, the song is short and the piano sounds tinny. It may not be anything like Down Incognito, but it gives off that Winger feel to it that we all know and love. It's a great instrumental piece, with Kip's voice sounding brilliant, I expected something more catchy though. Whatever, progressive music is a win for me.
~Matthew Clewley

Track Review: The Antlers - Palace


You know what you're getting with The Antlers, unlimited emotion for even the bravest of men. Right from Peter Silberman's inception as a solo artist, The Antlers' music has been as eerie as Aphex Twin, but as emotionally connective as a Jeff Mangum penned song. Hospice was undeniably a powerful concept album in the back end of the 00s, paving the way for the dream pop styles of Burst Apart in 2011. Silberman is backed by drummer Michael Lerner and multi-instrumentalist Darby Cicci, adding a band feel to Burst Apart from what was essentially a solo project with Hospice. The Antlers announced their fifth album Familiars set for a June release, putting out "Palace" as the pre-release single.
 
 

"Palace" sounds unlike Burst Apart, unlike Hospice, and unlike the lo-fi recordings of Silberman's past. It’s light, breezy, and boasts a brass instrumental to go with the already excellent falsetto vocals and reverberated percussion. Lyrically, "Palace" is excellent: "Then when heaven has a line around the corner, we shouldn’t have to wait around and hope to get in," highly imaginative lyrics, what we've come to expect from Silberman - "if we can carpenter a home in our heart right now, and carve a palace from within." If "Palace" is an indication of anything, then it's indicating the level of skill and quality, Silberman, Cicci, and Lerner poses when creating textures that bridge indie rock with dream pop delicately - it's time to get excited. 
~Eddie Gibson

Tuesday, 8 April 2014

Skrillex - Recess


One of the most prolific dubstep artists to come out in the past five years or so, Skrillex, has been experimenting in different fields of music. The term 'brostep' is thrown around the internet more than a rugby ball, with fans arguing whether Skrillex is brostep or not. However so, he still remains a commercial pioneer when it comes to electronic bass lines going ape shit, which is something you can't argue against (unless you've been living in the basement for the past few years.) Luckily for you I can't be arsed to go on any pretentious bullshit rant about both genres. His album Recess came as a surprise to me, but it has been a little while since Bangarang was released. “Breakn’ A Sweat” was a superb example of a wonderful collaboration between Sonny Moore and the remaining members of The Doors - will this album come across anything like that?

The first song comes with “All Is Fair in Love and Brostep”, which is one of the songs that feature The Ragga Twins. It starts off with a spoken sample and therefore goes into auto tuned singing with bass on the voices. When the bass line drops is seems less mental as I hope, but it’s okay nonetheless, it works throughout the song. The synth sounds are nice through the second verse, working with the drumbeat until the next bass drop.  Next up, Kill the Noise teams up with Skrillex for the first time since KoRn's Path To Totality album with the song “Recess”. The album title song arrives with Fatman Scoop providing some vocals. It's an upbeat song which in my eyes would be brilliant live, the bass lines aren't much, but the song mainly relies on a constant repetition and considering dubstep is a form of house it is expected.

Stranger” is a toned down track with Killagraham and Sam Dew. It kicks up a minute in, with the bass line high pitched, which if I am absolutely honest really annoyed me. I like the singing on this track, it's nice and halfway through the tempo changes which the sounds do sound a lot better when slowed down. Alvin Risk rolls his way for a guest appearance on the track “Try It Out”, a nice and lively one which kicks ass all the way throughout. It's catchy and a good head nodder, and the return of the high pitched auto tune voices on this album makes this song quite swell. The bass line is quite samey throughout, but it's a perfect duration for a song like this. “Coast Is Clear” pops up with a very retro feel to it, until it kicks in with bass line and light percussion. The lyrics are pretty vulgar, not that it matters to me. It's an alright rap, the song is pretty weak compared to the rest of the songs so far into Recess. The light distorted bass sound is nice, but it kind of ruins the calm mood and harmonies near the end of the song. Diplo pops in with more auto tune with the choir sounding slightly spazzy as if it's random key mashing on a MIDI controller. When it drops the auto tuned voice is replaced instead of a bass line that I think was pretty cool. It's a slightly catchy song with an awesome techno vibe coming off it, it's one of the shortest songs on the album.

Ragga Bomb” comes next this, if the title didn't tell you, is the other song featuring The Ragga Twins. The voice is nice distorted which seems to replace the bass line in this, the song flows pretty nicely throughout and then the bass drop strikes once again with nice rapping until the end. The intro to Doompy Poomp sounds slightly shit and the music kicks in, a strange mix of sounds in my opinion. It's however somewhat groovy, with some whiny little high pitched twat through the song. Halfway it changes through some strange but soothing elevator music feel to it. “Fuck That” is next, and when the bass drops it has a pretty fucking groovy to it. It's another song a dubstep artist has done that is experimenting with trap music.

For those who don't know what trap is, it's dubstep with a build-up, but without a bass line that sounds like Optimus Prime having a sloppy fart sounding shit after a vindaloo autobot curry. There isn't much to this song other than a steady and chilled beat and bass line which isn't over the top or messed around with on MIDI pots or sliders. We are approaching the last few songs and they are both just over 10 minutes in length when added together. “Ease My Mind” is the first one to come from this, a nicely soft tune which has such a West Asia feel to it when it comes to the bass line.

This is one of the best songs on here, when it comes to music and vocals both work wonders on this. It remains a nice travel through some decent electronic music for a lovely casual listen. And last but not least it's “Fire Away” to finish of this album. This is a quiet and beautifully ambient track, even with the bass creeping around the background. It's a quiet way to go out of an album, but it's a great mix. This album has mixed around different genres when it comes to electronic music - with dubstep, hardcore techno and ambience being examples of the versatility of genres in this album. Though it's not the strongest album Skrillex has produced, it still has a few kicks and punches which give you glimpses of what he has appeared to be since 2010. There sadly isn't as much energy in this album as there could've been, the with the songs with different moods it seems a little out of place with each other, there are still some highlights. “Recess” would be fantastic to see live as it's such a good upbeat song, and "Fuck That" is a good example of trap. There are some highlights on this, with a main focus on brostep, but it's decent enough, however it will alienate some of his fans for the songs he has previously produced involved crazy bass lines and fast tempo songs. It's nice to see experimentation, Skrillex focuses on more of a groove rather than going mental, however if you like his stuff before Recess and don't want him to change from his old ways then you won’t like this as much.
~Matthew Clewley

7.2

Friday, 4 April 2014

SOHN - Tremors


Vienna-based, London-born producer and singer-songwriter SOHN stares on at the billowing current of steam lifting up on the cover to his debut full-length, Tremors, as if he's both in awe of its presence yet is understanding and appreciative of its existence equally so. It's a strong, visual stating of SOHN's own perception to narrative-homed song-writing, and something of which is built from the soul outwards. In this case, SOHN's soul eagerly vies to escape and release itself - the stress and concealment pushing both the man's lyricism and composition to the point of desperation. Needless to say SOHN has already made a name for himself - both as an artist as well as a producer - for homing in on such rough-trodden, slowly-pealing fusions of soul and electronica minus the bombastic showmanship that has come to shape (but help more-so) currently-trending RnB. No doubt this was one of the major bargaining chips that saw him land a deal with 4AD so swiftly and superbly in the first place. And with this raised platform to carry on the integrity of x amount of mood swings and negative emotions, Tremors makes itself out to be SOHN at his most pinnacle; his most vulnerable sure, but driven more-so to give his emotional leanings the voice and colour he himself often demonstrates through vocals, and vocal manipulation, alone.

Opener Tempest is no stranger to that process - a track which is built for the majority on sampled vocals that shunt, shift and phase in and out in pocketed pulses. Anyone who favours (and in this case, that's probably everyone save for myself) James Blake's work-around will instantly recognize - and perhaps quickly come to connect with the lead rhythm - SOHN's muting of the outside to start off; the track eventually lending room for some crisp drumbeats and synth pads to tone the piece into more this confessional sentiment his voice increasingly builds towards. The Wheel shortly after makes a stronger case however to prove that not all is as casual or as faint in lyrical emphasis as first appeared; SOHN's opening lines that 'I died a week ago/There's nothing left' instantly leaving the track - in all its sample-orderly structure and concealed presence - with something of a strange (though not black-or-white good/bad conclusion), withdrawn web of connection. This is slowly revealed more later on in the track, and while additional layers of clicking and clanking percussion get added on which creates a nice textural element, the track unfortunately falters in convincing me this is as fleshed out or even as focused on what particular emotive or conceptual leaning SOHN is targeting.

While the distinction between singer-songwriter and producer for SOHN is clear - his strive to strengthen the former coming up numerous times across the record - there's no denying that in moments such as Artifice, he proves his proficiency at getting the most out of his beat arrangement, but also balancing them with his strong, vocal emphasis. And here, on a track combining the soothing, stricken tones of RnB & soul with the crisp qualities to synth pop, SOHN's know-how in balancing rhythm and groove, with its tonal development and evolution, is great to see. Like all atypical verse-chorus-verse songs, if you can make the build-up worthwhile and provide the punch that bursts into life with SOHN declaring 'Somebody better let me know my name/Before I give myself away' amid shining step-for-step synth chords, drum rhythms and chattering vocal snippets. But the more soulful and richer attempts to reveal SOHN's emotive state come from the likes of Bloodflows which again initiate with that similar withdrawn, concealed veil about itself - SOHN's voice here accompanied by synth pads that are both weightlessly lofty and reaching in ascent at the same time. 

So to find ourselves being introduced, or reintroduced rather, to sterner, bubbly drumbeats (which admittedly have as much intrigue and affection as anything Four Tet or Gold Panda would fall on) and vocal distortion that plays more as an instrument in its own right, it's not without a tiny criticism of how it resorts to this similar surveying of previous, rather than expanding what began as this interesting, isolation. Not to say that SOHN's use of beats and synthesizers don't compel the tracks here to some latter sensation wherein it feels more complete and/or fulfilled. Rather in a field as strong as this - in a revitalized genre that has found the likes of Autre Ne Veut & Blood Orange establishing two polar-opposite, yet equally-astounding views on contemporary RnB - SOHN's initial input seems to float mid-drift, maybe not in this example parameter, but certainly with a feeling these beat patterns and synth usages aren't quite tied in as strongly to the track's motif as the vocals clearly resonate from. Tracks like Ransom Notes in which SOHN focuses more on the dynamic contrast between more crisper, slightly glitchier beats and the slow-nodding groove made by the introduction of guitar strings nestling in-between the mix, are a better offering as a result - assureing the song maintains its swirling, floating sensation

Like Artifice before it, when SOHN shows reluctance in pushing too forcefully his newer sounds, this variance on simple, stripped-back production - one that emphasizes on singular layers and allowing each piece the room to be fleshed out - works favourably when tieing in with this particular distancing proximity of vocals and lyrical themes SOHN continues to explore. But as far as additional instruments are concerned, when they do show up, as is the case on short-but-delicately-sweet Paralysed, the presence of this crunchy, grainy piano leading the track conjures up one of SOHN's most overwhelming and sensual tracks across the entire record. And here, his vocals match superbly with the song's cloudy, watery chord delivery and reversing, distorted samples that litter about in the backdrop. Fool equally so pulls the listener in towards its much more interesting tension and stance - at parts showcasing the hallmarks of underground, urban electronics with its twisted bass treatment and water-dripping synth notes, and in others blaring our eyes with flares of synthesizers and effects that the geography could be more psychological than anything. 

Thus, it's promising to find that when SOHN reverts to purely electronic, purely pure textures in drumbeats on Lights, that the former quips are non-existent; the track beginning with those delicately crisp equivalents in which the tracks gradually opens out and displays a colourfully more reflective side to itself - SOHN's vocals slotting neatly between the mix of gliding strings and bobbing percussion wherein the track eventually powers through with both a kick and a groove in its stride. With Lessons, the vocal presence shakes up a fraction with efforts put less into coaxing lyrics in space and effects, and instead focusing more on the harmonics and how SOHN, it seems, stands up to the track's persistence and pressuring force - the synthesizer arpeggios and trampling bass slightly tenser and menacing this time round. Tremors ends with another of these distinctly personal and sincere releasing of the man's inner, honest thoughts out into the open regardless of the resulting outcome. And while it's clear SOHN shares some remaining empathy and fondness for this former connection and intimacy - 'Bloodlines we etched when we merged into one' - there's no denying the ultimatum-esque directness presents him as someone, as hard as it may be, willing to move on, 'If you're thinking of letting me go, then it's time that you do.'

There's an interesting stitching of genres and fields SOHN uses here to explore what is clearly an album molded by experience (mostly the more unpleasant variants). Those who are fond of some click-clunk, stay-at-home, evening electronics will find pleasant munition; others whom have grown well attached to RnB's recent revival; even those who are fond of pop's influence with padded grooves and rhythms, there's something here for all three of these groups to satisfy, but perhaps not overly impress. Tremors unfortunately doesn't push this gelling of fields into something universally awe-inspiring or freshly inventive, but it does showcase SOHN's ability to borrow from this hushed, quieted singularity of space, and use it in a similar way soul peels back the layers that hold back the purest of human qualities. Whether that be through the delicate use of beats, or grappled soak of pads or effects, the measure of SOHN's meditative reflections are certainly high for the majority of cases. And whether you want an album you can easily slide yourself into, or one that puts you on the spot in some question-and-answer back-and-forth between parties, Tremors is reassuringly one you can add to either list.
~Jordan Helm

7.6