Monday, 13 October 2014

Pharmakon - Bestial Burden Review



Where do I start with Pharmakon? Well, I would categorize her as an artist I love, but no one else I know does (in fact I once made the mistake of playing “Milkweed/It Hangs Heavy” to one of my friends and they haven’t looked at me the same way since). Regardless of your opinion of her music, to feel this excited about a new(ish) artist is rare and should be commended. Anyway, for a while I thought Abandon would be the only ‘noise/power electrics’ record I needed in my life (mainly because a vast majority of the acts in those respective genres are pretty much garbage to me) but on Bestial Burden Margaret Chardiet has upped the ante and delivered one of the most powerful records of the year.

Abandon was a strange little record, literally; it was only 4 tracks long (with the exception of the ‘bonus track’ “Sour Sap”, which was a whopping 27 minutes long) and the music itself was deranged. Abandon was not an easy record either. Much like going to the gym, the first few times are a real struggle but you eventually adjust and begin to reap the rewards, not like I would actually know but it felt like an apt analogy, so there. While Bestial Burden isn’t worlds apart from its predecessor, it truly is a completely different experience, and this is made very clear from the very first second.

Bestial Burden is certainly a lot darker; I always felt Abandon had a kind of earthy quality, mainly due to the muffled synths and gritty textures (not to mention the maggot-heavy imagery) which gave it a mild sense of warmth. In contrast, Bestial Burden is just cold. The combination of sharper production and clearer mixing of the vocals give Bestial Burden a more industrial and confrontational feel. Following the panicked, breathy and almost ambient intro track “Vacuum”, you are confronted by the rusty clang of “Intent or Instinct”, which is essentially 8 minutes of utter terror. On this particular track Margaret ditches her usual screams and instead delivers a sort of growl reminiscent of a pitbull in its final stages of rabies, just begging to be put out of its misery. This is a breeze compared to “Primitive Struggle”, the most uncomfortable and grotesque track I have ever experienced…in the best possible way of course. I mean, if anyone could make coughing, spitting and gagging over power electronics awesome, it’s Margaret.

You are then hit with the tribal stomp of “Autoimmune”, the most direct track we’ve heard from her yet; no real intro, no real build up, it just goes. It is relentless and extremely dense, yet still has an added element of ~accessibility~ through the circular song structure. The way in which she asserts the line, “I’m a surgeon/ In this vessel,” is also completely badass. There are also moments on Bestial Burden were Margaret makes the full transition from industrial noise to dark ambient, such as the Armageddon-channeling “Body Betrays Itself” and of course, the jarring title track. On the latter, the instrumentation is heavy and bleak, but the vocals are ethereal and spacey with a few schizophrenic bellows of “I don’t belong here/ In the hands of nothing!” Menacing samples of laughter thrown in for good measure. In this track we hear her truly nail the record’s aesthetic and encapsulate an acute sense of anguish and fear — the sonic decay of the tracks show just how fragile our bodies are and the lack of control we have when they begin to fail. It’s a terrifying idea and a bleak reminder of its inevitability, and there is absolutely nothing we can do to stop it.

Bestial Burden, though intense and uncompromising, is also visceral and has moments of true beauty. It certainly feels more like an ‘album’ than Abandon ever did with each song contributing a different idea and insight into the concept of the record. Though there is immense contrast between the sparser, otherworldly tracks (“Vacuum” and “Bestial Burden”) and the face-melting, bone crushing ones (“Autoimmune”), the album feels cohesive and fluid in its tone, every track serves its purpose. Most importantly, Bestial Burden is a piece of art, and the artwork itself is just the beginning, the arrangements and sounds hit hard and leave a lasting impression. This is most certainly not everyone’s thing, but like all great art, it provokes thought and debate, achieving much more than just a disposable file on your computer.

9.3/10

Best Tracks: Intent or Instinct, Body Betrays Itself, Autoimmune, Bestial Burden

I know this is difficult stuff, but if you like what you've heard so  far and want to start exploring darker music, I have crafted a handy little playlist which will ease you in nicely. 

Good luck!

Sunday, 5 October 2014

Best Of September

A little later than usual but I hope to make up for that soon, here are my favourite tracks and albums of September. This month I feel was more about quality rather than quantity; all the albums and tracks in this posts are pretty much guaranteed to place highly on my best of 2014 lists. The playlist at the end of the post will feature tracks from every artist for a change. Enjoy!

Albums of the month



Perfume Genius - Too Bright

What makes Too Bright special is its ability to shift between these aforementioned off-kilter avante-pop tracks and more stripped back balladry, meaning that the content shows heaps of progression without alienating his prior fanbase. Despite the immense levels of confidence he exhumes on the more instrumentally dense tracks ('Queen', 'Grid', 'Longpig'), we still see moments of emotional vulnerability and self-loathing on the piano ballads, a familiar territory for Hadreas. Closing track 'All Along' has a very similar effect to that of 'Windows', the closer on Angel Olsen's Burn Your Fire For No Witness; through the majestic instrumentation and the defiant sentiment of "I don't need your love, I don't need you to understand, I need you to listen", the album becomes a statement of where Hadreas is with himself, which adds a new level of satisfaction to the record.

Read my full review here.

Aphex Twin - Syro

I'll keep this one brief because this release has been all over the music media since it was announced and yeah, you should believe the hype. Though (as many reviews have already stated) this is hardly anything particularly ground breaking for the genius that is Richard D James, but it is certainly one of his most accessible records to date (song titles aside). From sparse ambient moments like 'aisatsana [102]' to the more dense acid-techno bangers like '180db_[130]' and the healthy in between in the form of lead single 'minipops'. With more music allegedly on the way, these are exciting times to be an Aphex fan.

GOAT - Commune

Picking up were their incredible debut World Music left off; Commune is a trippy exploration of styles from around the globe, from Western surf-rock, African tribal drums to psychedelic guitar twangs with Eastern flavours. With such a melting pot of cultural sounds, it would be easy to cheapen and trivialize their significance, but GOAT do them justice throughout, in the most celebratory way possible.

My Brightest Diamond - This Is My Hand

On her fifth LP, Shara Worden embraces pop sensibilities like never before, yet she still incorporates the classical and chamber pop elements which made her previous output so classy and authentic. The usual woodwind and horn sections are accompanied by marching bands, choirs and synths, taking her theatrics to a whole new level.

Songs of the month



Arca - Thievery

Following some stellar production work with FKA Twigs as well as two phenomenal solo EPs, Arca is finally releasing his debut album Xen in November. As the disturbing artwork and single 'Thievery' suggest, this album is expected to push the boundaries of experimental electronica further than ever before. And judging by this track, Xen could be a late contender for album of the year.

Flying Lotus - Coronus, the Terminator

While pretty much everyone on the internet continue to loose their minds over Fly-lo's Kendrick Lamar collab 'Never Gonna Catch Me', I on the other hand much prefer this slow burning jazz fusion masterpiece. Despite being a mere 2 minutes 40 seconds in length, 'Coronus, the Terminator' manages to change the entire pace of his latest LP You're Dead! and is certainly an album highlight. 

Rosie Lowe - Water Came Down

You may vaguely recall me badgering on about Rosie Lowe and her wonderful EP Right Thing late last year, well after a year of gigging and recording she has finally put out a new track in preparation for her debut album (due sometime next year). 'Water Came Down' is the most uptempo track she's produced to date, yet her soulful twang still maintains the sensuality which made her a name to watch in the first place. 

Kendrick Lamar - i

When I first heard 'i' I thought I was listening to an Outkast track, I am yet to determine whether this is a good thing or not but then again, I like Outkast and I like Kendrick, so I guess it's the best of both worlds. Stepping away from the grit of his seminal Good Kid M.A.A.D City; 'i' sees Kendrick explore a more positive vibe with the refrain 'I love myself'. Regardless of your thoughts on this track, the prospect of a new Kendrick album is still a very exciting prospect. 




Deers - Barn

Now it wouldn't be an IPlugtoyou post without a female-fronted indie rock band of some kind, so here's a band from Spain called Deers. There is a surprising amount of hype surrounding these guys and though I am a little confused by it all, their output thus far has been consistently catchy and fun, with 'Barn' being no exception. 

Monday, 29 September 2014

Perfume Genius - Too Bright review



Despite only having two records under his belt thus far, Mike Hadreas has already established himself not only as one of the finest songwriters in contemporary music, but one of the finest storytellers too. His debut album Learning was a low-key affair; 11 stripped-down tracks, many of which telling harrowing tales of Mike's adolescence and coming to terms with his sexuality, drenched in reverb which created a sense of intimacy as well as distance. The theme was very much the same with his sophomore record Put Ur Back N 2 It, through the introduction of clearer vocal mixing and more experimental song structures made it feel like a massive leap for Hadreas' artistry. On both records, Hadreas' vocal delivery was fragile and soft, complying rather nicely with the delicacy of the themes he explores; ranging from love and loss to drugs and homophobia, I think it's fair to say that Hadreas is not one to shy away from the darker subject matters in his songwriting, and for that I respect him even more.

Just when we (as an audience) thought he had Perfume Genius sussed, he throws us a curveball in the form of 'Queen'; extravagant, loud and seemingly confident, this was a side of Hadreas that we had never seen before and it left us all wanting more. Everything from the epic in-your-face music video to the excellent lyrics (most notably "No family is safe, when I sashay") felt like a massive departure from his previous sound on which he has built his following, but beneath all this his vocals still had that distinctive quivering undertone which told me that he still has that ever-relatable vulnerability. This new style is far from a one-off, Too Bright is full of avante-garde pop delights such as 'Longpig' with it's futuristic, hypnotic synth line and pounding drums creating a ritualistic tone, this being worlds away from his earlier, acoustic tracks. The track 'Fool' begins with a synth/drum/base which lends itself to one of the catchiest vocal melodies of Hadreas' discography thus far, naturally the song then descends into a sparse, organ-led spiritual breakdown, exploring yet more exciting sonic territory. On 'My Body' and 'I'm A Mother' we Hadreas evoke a sense of menace, not only through the darkness of the lyrics but through the density of the production also, the latter track in particular uses down-pitching vocal effects to create an atmosphere so dark it is almost surreal.

What makes Too Bright special is its ability to shift between these aforementioned off-kilter avante-pop tracks and more stripped back balladry, meaning that the content shows heaps of progression without alienating his prior fanbase. Despite the immense levels of confidence he exhumes on the more instrumentally dense tracks, we still see moments of emotional vulnerability and self-loathing on the piano ballads, a familiar territory for Hadreas. 'No Good' combines the lyrical theme of inferiority and being at unease in your own body, "There is gentle way, there's no safe place, for the heart to hand when the body is no good", he sings over a gentle piano melody, before the instrumentation progresses into a luscious outro. Album standout 'Too Bright' uses subtle synth flourishes to enrich the melody and give the track an almost spiritual and medicinal feel, despite the cryptic and sparse lyrics this is one of the most powerful tracks on the entire album. Closing track 'All Along' has a very similar effect to that of 'Windows', the closer on Angel Olsen's incredible Burn Your Fire For No Witness; through the majestic instrumentation and the defiant sentiment of "I don't need your love, I don't need you to understand, I need you to listen", the album becomes a statement of where Hadreas is with himself, which adds a new level of satisfaction to the record.

9.2/10

Standout tracks: Queen, Fool, No Good, Grid, Longpig, Too Bright, All Along


Monday, 15 September 2014

iplugtoyou TV episode 2

Just a quick post today as I'm extremely busy at the moment with work (well, A-levels). I'm not sure if I'll be posting too much over the next few weeks but if all goes to plan I'll be uploading a couple of reviews, new videos and my monthly round-up as normal.

Here's episode 2 of iplugtoyou TV, I'd just like to thank those of you who watched it and gave me feedback, it is much appreciated. After episode 3 I intend on varying the content and making how to be posting vinyl care/collection guides as well as reviews so look out for those in the coming weeks. 

Once again, thanks for reading the blog, I am nearing 8,000 views in total which is extremely exciting and hope to continue this success in the future. 

Thursday, 4 September 2014

Introducing iplugtoyou TV

Ok, so it's time for that 'big announcement' I've been yapping on about. Basically, for the past year I have been pondering whether to start making videos to put on the blog alongside posts, just to make them more dynamic and engaging (plus I was feeling kinda inspired by The Needle Drop). 

Anyway, after completing my GCSE's I was speaking to my maths tutor about schemes for young people running in my local area and she happened to mention that she was setting up a platform for young people to showcase their interests thorough her company Galaxy Learning. So as a young person with an interest, I saw a window of opportunity and took it, and here we are...

So from now on I will try my best to include videos in my posts (not all of them of course, that would probably get monotonous after a while). I'm taking a fairly lighthearted approach to this and completely acknowledge and accept the fact that I am not BeyoncĂ© and thus won't be raking in the views. Instead I aim for about 250-500 views for the channel by the end of the year. That's not too much to ask now is it?

And now, without any further ado, I present to you the very first episode of iplugtoyou TV, in which I delve into my record collection, dropping a 'lil bit of insight as I go along. 

(If you think I'm awkward here then I apologize because this is pretty much the best it gets)

Self-deprecation aside, here's the video:



Sunday, 31 August 2014

Best Of August

Hey everyone, I'm sorry that I've only posted once this month, I mean I haven't even been that busy so I don't really have an excuse...except for the fact that I've been planning ahead to September; I start A-Levels soon and I want to ensure that I can maintain my 3-post-a-month plan. So I promise I will try to keep up from now on. 

ANYWAY

Back to music, yeah, this has been a good month. In terms of albums it's a bit on the slow side, but September is quite the opposite so I'm not too fussed. There are however lots of great tracks floating about and some incredibly exciting new albums coming soon (hence the need for a new post). There is also some extremely exciting news which I will announce in due course...

Albums of the month



FKA Twigs - LP1


So as you may have gathered from my gleaming review, I am pretty much infatuated with this record, but don't take my word for it; the world of FKA Twigs is ready and waiting to be delved into. But what I can offer you is the following advice: If new to Twigs, give it time and you will reap the rewards. If you're already accustomed to her artistry, you'll agree it's a masterpiece and want to marry it. I've listened to this record relentlessly and can assure you that there are no weak spots, each track is special and will become your favourite at one time or another, that's the beauty of it.

Read the review in full here


Marcel Dettmann - fabric 77: Marcel Dettmann

Through a series releases and his world-renowned DJ sets, Marcel Dettmann has become one of the biggest DJ's in techno. His latest release fabric 77: Marcel Dettmann is a long one, it's nearly 3 hours yet never once feels tiresome or boring. This is techno at it's most skeletal and steely. There are moments of sparseness as well as mind-numbing density during the more club-ready tracks like 'Transit 0.2', while the menacing 'Inside Of Me' adds an element of darkness.


The Bug - Angels and Devils

With a track list featuring acts such as Copeland, Death Grips and Liz Harris (A.K.A Grouper); how could the fourth album from Kevin Martin as The Bug be anything less than excellent? The answer is it couldn't. The album features everything I could ever want from it; stellar guests, strong instrumentals and an expansive range of sounds. The only track I genuinely don't care for at all is the Death Grips track, that's simply because the lyrics suck. As this is a two part LP it's safe to say I prefer the lighter and more accessible first part, otherwise known as 'Angels'. But as a whole it is a really strong piece of work and Martin's best release to date.

The New Pornographers - Brill Bruisers

After two rather underwhelming records, The New Pornographers have come back fighting with Brill Bruisers. This record sees the band reclaim their ‘best indie rock/power-pop super group’ crown (from whom I am not quite sure). Whether it be the soaring harmonies on the explosive “Brill Bruisers”, the melancholic “Champions of Red Wine” or the driving groove of “Backstairs”, this record truly feels like the band have managed to find the fire which made their early releases so highly acclaimed. The album’s celebratory and joyful spirit is exemplified by the closing track and leaves the listener with an overwhelming sense of appreciation for the mundanities of life. It may not be their best record but it’ll certainly put a smile on your face, and thus rightfully earning the band’s power-pop tag.

Read the full review over on Earbuddy.

The Wytches - Annabel Dream Reader

After months of hype from various publications; Brighton-based surf-doom outfit The Wytches finally released their debut album this month. As far as an album of this genre goes, Annabel Dream Reader is pretty expansive and features a range of moods and tempos. From the face-melting 'Digsaw', the psychedelic riffs of 'Wire Frame Mattress' to the moody slow-burning 'Robe For Juda', the band are pushing the boat out here and bringing a new meaning to 'surf-psych'.

Songs of the month (see playlist below)



Caribou - Our Love

If you journey back to June, you may remember Caribou's 'Can't Do Without You' topping my 'best songs of June' list, well he's done it again. 'Our Love' the second cut from his forthcoming record of the same name is yet another intoxicating IDM banger filled with off-kilter synths and drum machine sounds. As much as this is very much a summer track, I'm sure a song of this calibre can be appreciated all year long. If early reviews are any indication, the record is full of these euphoric epics so I suggest you brace yourselves...

SOPHIE - Hard

Oh Lord, where do I start with this? It's hard to really talk in-depth about a track like this because it is quite literally all over the place. Is it garage? is it pop? is it dub-step? I don't know. All I know is that the song is brilliant and I can't stop playing it.

Mr Twin Sister - Blush

Earlier this year Twin Sister announced that they had changed their name to 'Mr Twin Sister' and were no longer with Domino Records (why exactly I am still not sure). This got me worried, especially considering how much I loved their last album In Heaven. My anxiousness intensified once I heard their single 'Out Of The Dark', as good as it is it simply isn't the band I know and love. However, all of this doubt was irradiated by the incredible 'Blush', with its jazzy undertones and soothing chorus, my faith is now fully restored. 

The Juan Maclean - A Simple Design

~A Moment to appreciate this song's length~. Ok, 'A Simple Design' is a sleek, catchy and funky piece of synth-pop, it seems that the addition of Nancy Whang as a full-time vocalist has done wonders for John Maclean's (former) solo project. Let's hope that their up and coming LP features more bangers of this magnitude. 

Pharmakon - Body Betrays Itself

WARNING: This track is not for the fainthearted. So if you don't like screaming, loud electronic noises or angry women, I suggest you skip this track (hence why it's at the end of the playlist).

She's back. 

Margaret Chardiet (better known as Pharmakon) has been very much embedded in my mind ever since her debut Abandon harpooned it's way into my ears last year. A mash-up between noise, power-electronics and avante-garde; Pharmakon's sound is certainly an acquired taste. But I happen to love it. And with a new record on the way in October, this new single proved her throat-shredding game is as strong as ever. 

Run The Jewels - Blockbuster Night Part 1

What started off as a collaborative album between Killer Mike and El-P became one of the most successful rap projects of the last year. From the beats to the bars, everything was pretty much on-point and the fact it was free was the cherry on the cake. 'Blockbuster Night Part 1' picks up where the duo finished off, but the production shows that they've clearly upped their game. 

My Brightest Diamond - Lover/Killer

Next month, Shara Worden will release her fourth album under the moniker My Brightest Diamond. The album in question is called This Is My Hand and it is excellent, this track in particular being one of my favourites. 'Lover/Killer' combines Worden's signature baroque elements with funky guitar licks and horns, the result is extremely unique, much like Worden's talent itself. 

Lily & Madeleine - The Wolf Is Free

Teen sisterly duo Lily & Madeleine released their bewitching debut last year following the immense success of their earlier buzz tracks and covers. Now, less than one year on they are gearing up to release their sophomore album Fumes in October. 'The Wolf Is Free' is easily their best track to date, with subtle hints of chamber pop and barber shop harmonies, it is clear that the young duo are constantly honing their skills. Despite it's light aesthetic, 'The Wolf Is Free' packs a punch and suggests that their up and coming sophomore album is not to be missed. 


 
Wardell - Dancing In The Freeway

Just because Summer is over does not mean that I can't still pretend; the poor weather will not stop me from listening to sun-soaked pop-rock at an obnoxiously loud volume. Wardell's 'Dancing On The Freeway' delivers this sentiment much better than I ever could. Bearing in mind I've been waiting around a year for them to follow-up their excellent Brother/Sister EP, this fills the void wonderfully. 

Hookworms - The Impasse

I was initially going to end this with a light and melodic soul-pop track but this came along at the last minute and nabbed the last spot on my playlist (hypothetically, as it isn't on soundcloud). Leeds outfit Hookworms released their debut full-length Pearl Mystic last year to rave reviews and are now ready to release the follow-up in the form of The Hum. To tie us over until November, the band have dropped 'The Impasse', possibly their most accessible and focused release to date, yet maintains their ramshackle charm. 


Tuesday, 12 August 2014

FKA Twigs - LP1 Review



It is not uncommon for an upcoming artist to build interest through the release of an EP (or in this case, two EPs), especially in an age where technology is progressing at a frightening rate and artists tend to have a diminishing window of opportunity to make an impact and sustain a fanbase large enough to ensure longevity. But what is particularity astonishing about Tahliah Barnett's ascent to prominence is how she manages to captivate the internet by defying the norms of modern pop. Each track came accompanied by unique and stunning visuals which encapsulate the mood of the tracks whilst not detracting from the music itself. Her sound was always startlingly assured for such a newcomer to the game; rich in texture and brimming with off-kilter beats and sounds, she seemingly ripped apart any genre-specific labels the industry or media may have tried to impose on her. Suffice to say, Barnett has truly delivered a game-changing debut album which pushes all the boundaries whilst maintaining a considerably expansive reach.

Imagery is an integral part of Barnett's artistry; her visuals and sonics go hand in hand to create an experience for the listener/viewer, this enables them to feel even more connected to the music on a deeper level. Arguably one of the main reasons for the immense success of prior singles 'Water Me' and 'Papi Pacify' is the music videos which accompany them. They immerse the viewer in the concept of the song and bring new meaning to Barnett's lyrics. The artwork of LP1 (created by Jesse Kanda) itself is no exception to this; the cover art is a partially digital portrait of  Barnett is placed on a tranquil blue backdrop, representing the more ambient part of her sound whilst the quiet sense of longing on her face lends itself to the darker soundscapes in her music.

The album opens with 'Preface', which consists of one, very powerful lyric; "I love another and thus I hate myself", a quote from the 16th century poet Thomas Wyatt which I feel sums up the lyrical tone of the record to a tee. The notion of self-loathing induced through the love and undying devotion to another human being is a poignant one, this only reinforced by the throbbing basslines and punchy synths laced across the record. And then of course, there is her voice. And what a voice it is; from breathy and wispy coos to gutsy and rich cries, her vocal delivery is as colourful and dynamic as the production it juxtaposes. Despite its running time, it makes a huge impact on the listener and sets the tone perfectly, it oozes grandeur with every second, much like the lead single 'Two Weeks'. The latter is undoubtedly Twigs' most accessible song to date, plus it's a bona fide jam; the throbbing bass line, shuddering drum beats and spine tingling vocal delivery as well as the accompanying visuals take Twigs' regal aesthetic to the next level. The lyrics on the other hand are anything but, "Higher than a motha fucka, dreaming of you as my lova" are hardly the words of a queen, though the way said lyric is delivered evokes an overwhelming sense of empowerment, she is truly owning her sexuality here and it's awe-inspiring to witness.

You'd be foolish to even attempt to pigeonhole FKA Twigs; she does not belong in any old rigid genre structure, her sound created through the fusion of various styles and the intention is not to fall into any genre-specific category. Nobody I feel articulates this better than Barnett herself, in a recent interview with The Guardian, she said: "When I first released music and no one knew what I looked like, I would read comments like: 'I've never heard anything like this before, it's not in a genre.' And then my picture came out six months later, now she's an R&B singer." Essentially, because she's mixed race, people (the music press) rather carelessly class her as "Alt-R&B", because its easy and they don't care to look deeper into the music she creates, and that's a great shame. Barnett's genius is in the fact that she creates boundary-less and thought-provoking electronica with nods to chamber music, soul, trip-hop, along with avante-garde and ambient thrown in for good measure.

In that same interview Barnett also declares her love for "annoying sounds, beats, clicks. Kakakakaka", this is evident on many of the tracks on LP1. Take closing track for example; laced with haunting vocal samples and throbbing synths, 'Kicks' climaxes with a glitchy and unusually catchy breakdown which ends the album on a euphoric note. She also said [of the album] that "the structures aren't typical, it's relentless. It's like punk; fuck alternative R&B!", another statement I'd have to agree with, Barnett's sonic innovation in this record's production is certainly that. A prime example of this is the track 'Pendulum', which features Barnett's signature 'clicking'; though brittle, it is also unsettling and gives the track a subtle sense of menace. The track then opens up in the most mesmerizing and majestic of ways into an explosion of plush soundscapes as she coos "so lonely trying to be yours, when you're looking for so much more".

So as you may have gathered, I am pretty much infatuated with this record, but don't take my word for it; the world of FKA Twigs is ready and waiting to be delved into. But what I can offer you is the following advice: If new to Twigs, give it time (less than two weeks) and you will reap the rewards. If already accustomed to her artistry, you'll agree it's a masterpiece and want to marry it. And if none of the above don't apply, I simply do not know. I've listened to this record relentlessly and can assure you that there are no weak spots, each track is special and will become your favourite at one time or another, that's the beauty of it.

9.2/10

Standout Tracks: Two Weeks, Pendulum, Numbers, Closer, Give Up, Kicks