The Syndicate

Yeah that's a good idea. Sorry for the absence gang. It's been a hell of a few weeks. Summer is here though so ideally I'll get a chance soon.

I won't derail any current discussion, but I just want to say, I will still be listening to every submission at least once. I enjoy it, and it broadens my horizons. I'm a couple albums behind right now, and my reviews are getting less and less depth-filled, but the main purpose was for me to go through every album, get a new experience, and note whether I liked it or not.

So I'm still enjoying this topic, even if this is a dry spell for discussion considering how busy everyone is.

Edit: Heh I clicked reply instead of edit. Just doing more music reviews, nothing to see here.

I'm going to listen to Nutella's submission tomorrow.

speedchuck wrote: ↑Mon May 07, 2018 3:34 pm I won't derail any current discussion, but I just want to say, I will still be listening to every submission at least once. I enjoy it, and it broadens my horizons. I'm a couple albums behind right now, and my reviews are getting less and less depth-filled, but the main purpose was for me to go through every album, get a new experience, and note whether I liked it or not.

So I'm still enjoying this topic, even if this is a dry spell for discussion considering how busy everyone is.

Samesies samesies

Guys I'm listening to SAW albums!

Rhythm, Chord, and Melody is really living up to it's name. It has the melodic instruments of Family Crest, holding together the "keys and strings" in beautiful melodies. But the music holds a frantic pace a lot of the time, sounding more like the melodic soft version of a prog band like Rishloo. (There may be more apt comparisons, but this is what comes to mind.) The music is both melodic and busy at times, in a way I don't usually hear. That makes it unique, though not necessarily better than if it chose one or the other.

Like with most of Nutella's submissions, the music is pleasant. Each individual instrument is played with skill, and none of them sound harsh or annoying. No grating singers, bagpipes, organs, or overdriven guitars here. It all sounds good, if a bit overwhelming with density at times.

That's my impression of the music, anyway. The songs didn't have strong individual hooks, and they were busy, but it was still a good sound. The vocalist really tied it all together.

3.5/5 I think.

How Did We Get So Dark continually reminded me of another group who has to date only released one album: Them Crooked Vultures (a stoner rock styled supergroup featuring Josh Homme of Queens of the Stone Age, Dave Grohl of Foo Fighters among others, and John Paul Jones of Led Zeppelin). I think it's a good thing, as at this point it's difficult for standard-construction hard rock to be interesting. There's already so much of it through the eras. The stoner variety (don't blame me for the stupid genre name) works though because it builds on momentum and groove beyond just banging guitar riffs or solos.

After one go through Replica I already forget nearly all of it. It was a bit of a sedative. It may have been aided [hindered] in that regard by my allergy hell. There was a brief bit of piano that I found quiet agreeable. Otherwise I have no thoughts either way about this one. It exists.

666 was fun. It continued to turn in surprising directions, but still somehow seemed to have a measure of order and purpose. That's a rare combination. The song "infinity" was a funny diversion (and also a bit scary). I suspect that if my apartment neighbors could hear that playing they'd have thought I was blasting porn.

Rhythm, Chord, and Melody was okay. I didn't get into it really, and there were some parts that seemed a bit cheesy (primarily in the lyrics and vocal delivery). It wasn't unpleasant though, and I can see the appeal.

And you're caught up! Congrats JJJ!

I guess that cheesiness you sensed is what made me think if Rishloo with this album.

All of the albums so far in order of preference. I'm listening to anything 3.5 and up again when I get the chance. Those are the ones that I really liked.

Replica 3.13 out of 5 (B-)


666 4 out of 5 (A-)


Rhythm, Chord & Melody 3.44 out of 5

Good grief, this woman has 41 studio albums! From 1963 to 2018. Mad respect already.

My introduction to Van Lear Rose:

Country music is not normally my thing. My father only started getting into it as he was mellowing out from his rock roots as I entered college, so I was pretty set in my young and ignorant ways by that point. Early into my sophomore year of college, Johnny Cash died. I worked in the college library at the time and the circulations director made a big fuss about it. His latest album, American IV: The Man Comes Around, was making a big splash at the time, so I checked it out, fell in love with it, and began exploring his catalog.

Thanks to opening myself up to the purer style of older country music then, I was open to exploring Loretta Lynn's 2004 oddball experiment, Van Lear Rose. I say oddball in a good way, because her collaboration with Jack White (then of The White Stripes) is such a weird pairing but it is oh so satisfying.

In 2001, The White Stripes dedicated their breakthrough album, White Blood Cells, to Loretta Lynn. Curious as to why a strange little garage rock duo would dedicate an album to her, Lynn invited them to her home, where they talked music. Lynn was impressed by Jack White's knowledge of older folk, Americana, bluegrass, and country music and she invited him to produce her next album.

Rather than bring in a bunch of country music royalty to make guest appearances on the album and use the best songwriters and session players that Nashville had on tap, White brought in a group of garage rockers and Lynn did all the songwriting for only the second time in her career. Lynn even plays acoustic guitar on many of the tracks.

The end result is an album that blurs the lines between rock and country, yet retains the kind of stylistic and emotional authenticity that is hard to find anymore. Lynn wrote from her life experiences- tender memories from her childhood, her rocky 50-year marriage, reflections on love and life, and the simple things that she tried to hold onto throughout her career.

Loretta Lynn was 71 years old when she recorded this album and yet she sounds more alive than than some artists half her age. I'll comment on individual tracks throughout the week. I hope this post doesn't over-hype this album for you. The lower your expectations, the more I think you'll be blown away.

It was all just decent country until I got 5 tracks in, to "Have Mercy." Dang, that isn't something I've heard before. Nice.

Thanks everyone for keeping this moving while I have been slacking.

First impression of the album:

Van Lear Rose starts off sounding rather normal. It is old, soulful country, sung by a woman who is 70 but sounds 45. The problem I have with most country music is the accents, so at first I struggled to stay with it. But the genuineness of the album's tone kept me going, and after the first few songs, I began to see the rock influence. The latter two thirds of the album were not what I was expecting after the first third. The songs were varied, gritty at times, and utilized the talents and timbre of Loretta Lynn really well. She fits in so well with the rock instrumentation that I'm surprised I haven't heard that combination of tone and instruments before.

3.5/5

Finally caught up myself!

Reign of Kindo was awesome. I've heard them before, but it's been a while and never this album, so this was a bit of a pleasant surprise. Solid 3.5 for me.

Loretta Lynn, on the other hand, ehhhhhhh... I'm sorry, I really tried to find merit in this thing, but it's really not my cup of tea. Still better than a lot of country, but I'm not a fan of Jack White, so the collaboration was the opposite of thrilling to me. Not exactly enjoyable but not awful either. A decent 2.0, I guess.

M Plus 7 wrote: ↑Tue May 15, 2018 4:11 pm Loretta Lynn, on the other hand, ehhhhhhh... I'm sorry, I really tried to find merit in this thing, but it's really not my cup of tea. Still better than a lot of country, but I'm not a fan of Jack White, so the collaboration was the opposite of thrilling to me. Not exactly enjoyable but not awful either. A decent 2.0, I guess.

You would give Metacritic's third-highest rated album of all time a 2. But that's why we love you, dude.


Anyway, I can understand the accent and twang being a hindrance. It wasn't for me at the time because I was exploring Appalachian bluegrass when this album came my way. I was a huge White Stripes fanboy at the time, so that was a bonus for checking Van Lear Rose out.

The opening title track is beautiful to me. It's the kind of sweetheart tale that I, as a father, want to relay to my daughters. If they remember me even half as fondly as Lynn relays her father's love for her mother, then I will have done my job right. I love the layers to the music on this one. That lap steel guitar in the background is lush.

Portland, Oregon is wild because almost the first whole minute of the song is an intro largely unrelated to the rest of the song. It's like an extended shot luring you through a smoke-filled honky-tonk before getting to the band and the song's principal characters. The song is a little weird if you think about it in terms of a 71-year-old and a 27-year-old singing about getting drunk and having what sure sounds like a one-night stand. There's enough Jack in this song (musically) to blue those country lines (or at least what I know of country). This song rocks hard for me.

The third song is more standard country ballad. It's a somber tune about life troubles. It's nice but I'll admit that it doesn't do a whole lot for me outside of sounding nice. My wife and I have, thankfully, never had communication issues to the point that this song resonates with me.

More song commentary tomorrow.

I feel similarly to MP on this one. It's just very much not my thing. I guess with some of the context G gave and judging by the lyrics about her life and stuff, I can see why it can be appreciated for sentimentality or whatever, but it's not the kind of thing I can connect to at all and I didn't really find anything about it interesting musically either and didn't get any enjoyment out of it overall. I'll say 2.0 as well.

nutella wrote: ↑Sat May 19, 2018 7:06 pm I feel similarly to MP on this one. It's just very much not my thing. I guess with some of the context G gave and judging by the lyrics about her life and stuff, I can see why it can be appreciated for sentimentality or whatever, but it's not the kind of thing I can connect to at all and I didn't really find anything about it interesting musically either and didn't get any enjoyment out of it overall. I'll say 2.0 as well.

Yeah, I can sort of get why other people like it, but despite my best attempts I can't wrestle any remote enjoyment or even appreciation out of it.

G-Man wrote: ↑Tue May 15, 2018 10:10 pm

M Plus 7 wrote: ↑Tue May 15, 2018 4:11 pm Loretta Lynn, on the other hand, ehhhhhhh... I'm sorry, I really tried to find merit in this thing, but it's really not my cup of tea. Still better than a lot of country, but I'm not a fan of Jack White, so the collaboration was the opposite of thrilling to me. Not exactly enjoyable but not awful either. A decent 2.0, I guess.

You would give Metacritic's third-highest rated album of all time a 2. But that's why we love you, dude.

Also, I would. Guess I'm weird. Lol. But the feeling is mutual.

Ohhh gonna give my 2 cents on this one

I've actually been listening to this one ahead of time, just a bit. It's really good. Better than I expected from "Call Me Maybe." The songs are catchy, stick with me, and somehow feel deeper and better than most pop I hear on the radio. Which is weird because the songs themselves are pretty simple and plain lyrically.

Maybe I'm just longing for other eras. A lot of this sounds like other decades of pop. 80s, 90s, 00s... in the 201X years, lots of pop has been depressing, muddy, and almost grungy. Even happy songs have some kind of pretentious seriousness, 'soulful'ness, or... fake coolness to them. To me, this sort of thing works for rock better than pop. Emotion throws that all away and enjoys itself. It's upbeat and fun. Emotion isn't worried about taking itself seriously, delivering a message, or giving us a feeling of hope in a dark age. There is no dark age here.

I'll probably listen again before I decide on a rating. It might even be a 4, though.

[mention]Zephyrus[/mention], check it out.

[mention]JaggedJimmyJay[/mention] What do you think of Emotion?

speedchuck wrote: ↑Thu May 24, 2018 12:01 pm @JaggedJimmyJay What do you think of Emotion?

I'll say a bit more when I can, but for now: I think it's the best-written pop music album of the 2010s decade [so far]. I think Carly Rae Jepsen is an enormously talented songwriter, particularly in her ability to put together hooks that just do not fail. Even Call Me Maybe, with it's dorky lyrical content, features one of the most magnetic hooks in recent memory -- that's why it got immense radio play despite most people thinking it's cheesy. Emotion is a natural progression from that foundation, featuring the same incredible songwriting talent without the cheese. She has matured into the best of her era, and that's saying a lot with a lot of supremely talented competition.

My favorite track is "Let's Get Lost".

I haven’t been able to listen to this one at work because girl pop is one of a few genres that will draw stares and questions from my co-workers. I never gave more thoughts on Loretta Lynn either, so I guess this means I am in catch-up mode again.

G-Man wrote: ↑Thu May 24, 2018 5:44 pm I haven’t been able to listen to this one at work because girl pop is one of a few genres that will draw stares and questions from my co-workers. I never gave more thoughts on Loretta Lynn either, so I guess this means I am in catch-up mode again.

I mean....you...there's .... you own headphones, no??? In what kind of workplace do your coworkers know what you are listening to?? Sounds nightmarish.

I need to hear this. I've heard it before though and based on recollection was pleasantly surprised.

G-Man wrote: ↑Thu May 24, 2018 5:44 pm I haven’t been able to listen to this one at work because girl pop is one of a few genres that will draw stares and questions from my co-workers. I never gave more thoughts on Loretta Lynn either, so I guess this means I am in catch-up mode again.

Lmao, I'm just imagining you listening to stuff I've nominated at work now, like dataplex.

Surely you didn't do that.

nutella wrote: ↑Fri May 25, 2018 10:57 am

G-Man wrote: ↑Thu May 24, 2018 5:44 pm I haven’t been able to listen to this one at work because girl pop is one of a few genres that will draw stares and questions from my co-workers. I never gave more thoughts on Loretta Lynn either, so I guess this means I am in catch-up mode again.

I mean....you...there's .... you own headphones, no??? In what kind of workplace do your coworkers know what you are listening to?? Sounds nightmarish.

My headphones are at home. I can't imagine wearing them during work hours. To me, that would be weird.

I work for a small business. There's three of us in the office most days, and I'm back the hall. People can only hear my music when they walk by my office and/or come in. My one co-worker is a real sourpuss and the one boss is a bit of a meathead when it comes to music. His office is across the hall from mine, so I tread lightly when he's here.

M Plus 7 wrote: ↑Fri May 25, 2018 11:00 am

G-Man wrote: ↑Thu May 24, 2018 5:44 pm I haven’t been able to listen to this one at work because girl pop is one of a few genres that will draw stares and questions from my co-workers. I never gave more thoughts on Loretta Lynn either, so I guess this means I am in catch-up mode again.

Lmao, I'm just imagining you listening to stuff I've nominated at work now, like dataplex.

Surely you didn't do that.

Haha! No, dataplex got two listens at home with the headphones on. Most of the others I have. Anything too non-musical or poppy had to wait until I got home.

K.... makes some sense. I'd be so uncomfortable though

Yeah, I've got headphones at work. I would listen to none of this out loud except for like Petrushka and Goat Rodeo Sessions. Even then, I might be asked to keep it down. I don't have my own office.

Good stuff. Solid pop album, fun listening and well-composed songs. High-leaning 3.5, will definitely listen again

(I can update this after Memorial day)

nutella wrote: ↑Sat May 26, 2018 6:35 pm Good stuff. Solid pop album, fun listening and well-composed songs. High-leaning 3.5, will definitely listen again

This echoes my thoughts pretty much exactly.

Don't make me leave this here another week guys. :P

Sorry, it's been so hard to keep up. I'm going to put this on right now.

I love this album! I need to listen to it again but I already have heard it earlier this year. It probably has more meaning for me having played LoZ: Majora's Mask, but it's awesome stuff either way.

The album was enjoyable, and well suited to my need to multi-task while listening. I have never played Majora's Mask, but I did still hear familiar melodies from Ocarina of Time (particularly in the last track). I've long had the desire to play through the Zelda collection in full, because I've only ever played OoT and ALttP. Perhaps this will serve as the inspiration, assuming I can find decent emulated versions.

Quin is. At least that who I sent a picture to.

G-Man wrote: ↑Sun Jun 03, 2018 10:16 pm Quin is. At least that who I sent a picture to.

lol looks like g meant to reply to the picture telephone thread