Tag Archive for '2011 countdown'

2011 – Wrap-up and Mix

^ first, a mix. It’s not ALL songs from my top 20 albums either. I do like other things too. 🙂

And had a couple of requests for an extended list, so here it is. A few that narrowly missed the top-20 just came out, and if I’d had them longer and given them more of a chance, they could’ve climbed up. Artists, next time, release your albums before November, kthxbye!

1. Gillian Welch – The Harrow & The Harvest
2. The Antlers – Burst Apart
3. Radiohead – The King Of Limbs
4. The Kills – Blood Pressures
5. Kate Bush – 50 Words For Snow
6. The War On Drugs – Slave Ambient
7. Lia Ices – Grown Unknown
8. Bon Iver – Bon Iver, Bon Iver
9. The Black Keys – El Camino
10. Shabazz Palaces – Black Up
11. Fleet Foxes – Helplessness Blues
12. Lykke Li – Wounded Rhymes
13. St. Vincent – Strange Mercy
14. Thurston Moore – Demolished Thoughts
15. Eleanor Friedberger – Last Summer
16. Cut Copy – Zonoscope
17. Disappears – Guider
18. Youth Lagoon – The Year Of Hibernation
19. Vetiver – The Errant Charm
20. Bjork – Biophilia
21. Death Cab For Cutie – Codes And Keys
22. Sophie Zelmani – Soul
23. Little Dragon – Ritual Union
24. Gudrid Handottir – Beyond The Grey
25. My Morning Jacket – Circuital
26. Radical Face – The Family Tree: The Roots
27. Iron & Wine – Kiss Each Other Clean
28. Tom Waits – Bad As Me
29. Feist – Metals
30. Laura Marling – A Creature I Don’t Know
31. Anna Ternheim – The Night Visitor
32. Clap Your Hands Say Yeah – Hysterical
33. M83 – Hurry Up, We’re Dreaming
34. R.E.M. – Collapse Into Now
35. Rachel Goodrich – Rachel Goodrich
36. Bell X1 – Bloodless Coup
37. Dum Dum Girls – Only In Dreams
38. Wilco – The Whole Love
39. Wire – Red Barked Tree
40. Marketa Irglova – Anar
41. Marissa Nadler – Marissa Nadler
42. Jay-Z & Kanye West – Watch The Throne
43. Stephen Malkmus and the Jicks – Mirror Traffic
44. Ghostpoet – Peanut Butter Blues & Melancholy Jam
45. Release The Sunbird – Come Back To Us
46. CANT – Dreams Come True
47. Babette Hayward – You Might Be Somebody
48. The Roots – Undun
49. Wild Flag – Wild Flag
50. Paul Simon – So Beautiful Or So What
51. Thea Gilmore – John Wesley Harding
52. PJ Harvey – Let England Shake
53. Blood Orange – Coastal Grooves
54. The Black Belles – The Black Belles
55. Alela Diane – Alela Diane & Wild Divine
56. Snoop Dogg – Doggumentary
57. Washed Out – Within And Without
58. Ringo DeathStarr – Colour Trip
59. Pterodactyl Plains – In The Air
60. Florence + The Machine – Ceremonials

that’s enough; all 60 of these I do like! You can listen to my 20 favorites on my Spotify playlist. Add me on there!

Thanks for reading. Thanks for following along. Thanks for talking about music, making recommendations, and sharing stuff with me. On to 2012!

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #1. Gillian Welch – The Harrow & The Harvest

Gillian Welch - The Harrow & The Harvest

that's the way the cornbread crumbles

So 2011 was kind of an odd musical year for me. A lot of my ALL-TIME favorite artists released new music, even relatively reclusive ones like Tom Waits (7 years since last album), Kate Bush (6), Radiohead (4), PJ Harvey (4), and Gillian Welch (8). I mean, getting one album from one of them would be enough, but all of them?! It was exciting!

When I’m rating and reviewing, I try my best to not compare an artist’s new album to their older work. I don’t always succeed at that, but it’s my goal, and I think makes my reviews more readable. It is one of my rules I follow when writing these things. But sometimes, with some of my favorites–who I know so well and have been following for so long–it is tough rule to follow. How can I not, even subliminally, compare to Kid A?

And when it came down to it, as much as I liked so so so many albums this year, there were not many where I liked an artist’s 2011 album more than my preferred favorites of their older work. I mean, I love the new Kate Bush and Radiohead albums–but more than their classics? In all honesty, probably not. That’s not a knock, or a claim they’re slipping, just tastes. And while I love taking a patient view of a career over time, frankly, the excitement before a release kept ending too soon.

Except for Gillian Welch. Gillian Welch! And David Rawlings! Their new album, The Harrow & The Harvest, is every bit the classic, and THE masterpiece by anyone in 2011. The authenticity of her old-time songwriting has been completely absorbed, as she turned inward to produce an intimate and harrowing record about the aftermath of blues, sin, heartbreak temptation. Dark, yes, but stunning nonetheless.

The album starts with a couple of beautiful, matter-of-fact blues songs. “On the day I came to Scarlet Town / You promised I’d be your bride / You left me here to rot away / Like holly on the mountainside,” she reflects, matter-of-factly, on “Scarlet Town.” “Some girls are bright as the morning, and some girls are blessed with a dark turn of mind.”

A series of three songs (“The Way It Will Be” / “The Way It Goes” / “The Way The Whole Thing Ends”) also turn on this bluesy existentialism. “The way you made it, that’s the way it will be,” she whispers sadly and a bit confused. “Did you miss my gentle touch? Did I hurt you very much? That’s the way it goes,” she sings, flipping the script a bit. The sadness is everywhere, and this existence is explored, over and over again, as inevitable.

But at the same time, she fully embraces it; heartbroken or otherwise, she wouldn’t have it another way. And there lies the power of these songs. “I try to be a good girl / it’s only what I want that makes me weak / I had no desire to be a child of sin / Then you went and pressed your whiskers to my cheek,” she sings on the incredible “Tennessee.” “I’ve tried drinking rye and gamblin’ / dancing with damnation is a ball / But of all the little ways I’ve found to hurt myself / Well you might be my favorite one of all.”

Musically, Gillian Welch and David Rawlings (one of my favorite guitarists ever) kind of fall into their own little pocket between country, folk, bluegrass and blues. Rarely are the songs more than two voices and two acoustic guitars, maybe a banjo or harmonica if needed. A couple of songs here have a little upbeat bluegrassness to them, but most are calmer and more laidback. The two of them blend together, vocally, guitarly, everything, into one. This album displays that chemistry better than any of their others, easy. In the past, they have expanded their sound a little bit, but here they’ve got it down to just the essentials, nothing extra needed. This kind of intimate recording/performance, combined with the sadness and blues of the lyrics, make the whole thing feel like a journey on a psychological landscape.

I have no idea why it took Welch and Rawlings eight years to get to this album, but the sound they settled on here is the perfect distillation of what they do better than anyone: intimate, affecting, real, beautiful, stunning.

Gillian Welch “Tennessee”

Gillian Welch “Silver Dagger”

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #2. The Antlers – Burst Apart

Burst Apart

If I don't take you somewhere else / You're gonna make this insincere

I was having trouble weaving this into some sort of coherent narrative, so I’ll just make a list:

1. Burst Apart is an album of songs about destructive love and disturbing dreams. It is creepy, strange and hilarious.

2. The Antlers have turned into quite an adept band, able to follow these songs where they need to go. From quiet reflection to dramatic moodiness to hypnotic to intense, they kind of do it all here. This is the first album like that for them, and they can go anywhere now.

3. The album opens with the line “You want to climb up the stairs / I want to push you back down,” which totally sets the tone of the whole album. The Antlers “I Don’t Want Love”

4. Burst Apart was a big grower for me, as it slowly rose all the way up my rankings to #2 here. Every time I listened, I liked it more and more and I just kept bumping it up.

5. In many instances, these were the catchiest songs I heard all year.

6. Catchy, yes. But slightly odd and off-putting too. (See, #3.) Other lines: “Every time we speak / You are spitting in my mouth” and “I’m a bad amputee with no phantom memory” and “they want to conquer you, abandon you / I want to burden you, belong to you.” I mean, it is not like he crosses a line into disturbing, but the metaphors are just enough off-center to make you uncomfortable. And it’s GREAT.

7. The Antlers reference teeth falling out in a couple of songs. In psychoanalysis dream interpretation, “Teeth in dreams represent your power, your psychical energy, in other words, your strength. When you see your own teeth falling out in a dream this means that you are losing your power. This is a very serious warning. You are in great danger! You are losing your power to act and do something to change reality. You are losing your capability to accomplish something. Why? Because you are making costly mistakes.” Those costly mistakes seem to me to be exactly what this album is about. The Antlers “Every Night My Teeth Are Falling Out”

8. That falsetto!

9. The drama in the songs is also exciting. The nervous drums on “Parentheses” provide a base, on which the singer joins, and then the bass. It all feels so natural, as well as expertly done. You get a similar feel on most songs: a sense of ease but also perfection, the sense that these songs are what they must be.

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #3. Radiohead – The King Of Limbs

The King Of Limbs

don't blow your mind with why

In the first season of Mad Men, Don Draper tells a room of hippies that the “universe is indifferent.” This bums them out, but it does get to the heart of Don Draper — this idea is how and why he feels free. (Sorry if you don’t know the character.) Similarly, on The King Of Limbs, Radiohead’s universe is a tumultuous one, and probably also an indifferent one. From within that tumult, Thom Yorke, as always, is trying to feel free.

The first few tracks depict the universe. Oceans bloom, jellyfish float by, the universe sighs. A no-good magpie steals memories, magic, melodies. “Obligations / complications / routines and schedules / drag and kill you,” Yorke sings on the dark “Little By Little.” These are hardly unusual depictions for Yorke, who regularly writes of the havoc in the universe in his songs, from car crashes to ice ages to spinning plates to weird fishes and worms. Metaphors? Sure. But also a world in constant upheaval.

That’s all well and good, but it’s just a set-up for the second half of the album. While this havoc goes on all around, Yorke keeps confronting it head-on. “And while the ocean blooms / it’s what keeps me alive,” he recognizes. This confrontation leads to a freedom, a state of mind, where there’s nothing to fear and nothing to doubt:

– “We will shrink and be quiet as mice / While the cat is away / Do what we want”
– “I will shape myself into your pocket / I will shrink and I will disappear”
– “Jump off the end / Into a clear lake / The water’s clear and innocent”
– “I think I should give up the ghost” (a phrase defined as “ceasing to exist” on dictionary.com)
– “Finally I’m free of all the weight I’ve been carrying”
– “Put the shadows back into the boxes / I have jettisoned my illusions” (on a b-side that didn’t make the album; shared below)

Those are all from the last four songs on the album; and clearly tie them all together. He is free. I’ve read a lot of different interpretive angles about Limbs, from climate change to suicide to dreams to Buddhist rebirth to whatever. And I’m not going to try to get that specific on it (besides comparing it to Mad Men, of course). But that is to say, these are some pretty deep songs when you look at them closely. (Just like Mad Men.)

Musically, of course, Radiohead keeps expanding their sound. My understanding from following them for so many years now is that after every album, they nearly break-up, and then totally rebuild how they create music. The end result may stay the same (killer songs), but the process evolves. The King Of Limbs seems to me to borrow a lot more from electronic music (that gorgeous “cat is away” break in “Lotus Flower,” the creative drums/percussion on “Separator” and “Bloom,” the vocal loops of “Give Up The Ghost,” etc.). In some ways, this is the Radiohead album that feels less like a band performance than ever before; but perhaps that was in reaction to their last album, which totally felt like that.

I’ll be honest here too: out of all Radiohead albums this is probably the one I’ve obsessed over the least. It’s still better than most everything out there though, and that’s why it’s one of the best albums of the year. I won’t claim to be unbiased on this list–it’s Radiohead and I’m me and they’re going to be ranked high. Regardless, I’m sure everyone I know who might possibly be reading this probably has already heard The King Of Limbs. (If not, why are we friends?*)

Radiohead “Supercollider”

Radiohead “Separator”

*lol j/k**
**sort of

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #4. The Kills – Blood Pressures

Blood Pressures

fate with a single blow has custard pied me now

A couple of albums ago, I mentioned how there were few albums I listened to more than The War On Drugs’ Slave Ambient this year. The Kills’ Blood Pressures probably got my most plays. There was a 2-3 month period earlier this year where I was working 14-15 hour days, 7 days a week. I took to playing Blood Pressures on my headphones every evening at full blast for a nightly jolt of rock energy, to get me through the last few sleepy hours of work.

So I have probably ranked it higher than it should, but I cannot deny–when I look back at the music of 2011, this was one of the defining albums for me. The album was perfect for that energy jolt. Even now, when I’m in that mood, I can play it in the car, and the windows start rattling and it’s AWESOME. Their loud choppy guitar riffs are infectious, the window-rattling lower end and relentless drums are exciting, and Alison Mosshart does the highwire seductive roar better than anybody around.

The songs are usually built around meaningless phrases: “the heart is a beating drum,” “loneliness never truly leaves me alone,” “it’s not the door you’re using, but the way you’re walking through it.” They really do not mean much, but they sound good, loud. They’re simple and effective and with just the right touch of power. “I can’t find enough pots and pans / let alone knives in my kitchen / To keep you cooking” — I mean, only the rockingest rock stars could get away with rocking lines like that, right? “Could be a nail in my coffin / and Lord knows I ain’t ready yet!” Alison Mosshart sings on “Nail In My Coffin.” It pretty much sums up most of the songs–a mix of frustration and temptation and whatever else raises your blood pressure.

The songs aren’t all relentless. Songs like “Satellite” show off their ability to weave some uplifting gospel choruses into their rock and roll. Usually these moments are wordless, and short, but they’re there, providing nice breaks from all the intensity. Similarly, “The Last Goodbye” is a end-of-the-night closing-time piano torch song–I’m surprised it’s not the final track on the album. But since it is not, it also acts as a break between the roar of the other songs.

After The Dead Weather had my fifth favorite album of 2010, I definitely count myself as one of Mosshart’s biggest fans now. Her partnership with Hince has turned The Kills into a great band, and their electrifying Blood Pressures was one of the highlights of 2011.

The Kills “Pots And Pans”

The Kills “Satellite”

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #5. Kate Bush – 50 Words For Snow

50 Words For Snow

shimmerglisten

Kate Bush! After a six-year absence, she put out two albums in 2011. While the first, Director’s Cut, was a relatively useless re-imagining of songs from two of her older albums, 50 Words For Snow included all new material.

One difficulty here is that if I were to explain these songs as ideas, they almost all would sound gimmicky. A song about a snowflake falling? A passionate night with a snowman? A song with 50 words for snow in it? Yetis? These sound kind of silly. Kate Bush, however, is a scientist. These are actually songs about snow. Snow is not just in the background or an atmospheric detail. By using snow so intimately in the songs, looking at it so closely, Kate Bush ends up discovering ideas and metaphors within.

“Snowflake” starts the album, and its repetitive piano mimics a snowfall, slowly pulsing and staying in the same place the whole song. The song is the story of a snowflake “born in a cloud” and falling down to the world. To make this story of growing up even more apparent, Kate Bush’s teenage son sings the whole song in a fairly gorgeous youthful falsetto. (It runs in the family.) Kate sings one line, repeated: “the world is so loud / keep falling / I’ll find you.”

The heavy “Lake Tahoe” uses a similar arrangement, Kate again at her piano with gentle drums. Instead of snow lightly falling, it feels darker and stronger and colder. A male opera singer harmonizes with her a bit, but she sings most of this ghost story, about a woman who drowned and froze in Lake Tahoe, leaving her dog behind. Later on “Snowed In At Wheeler Street,” Bush duets with Elton John. A lot of artists might write tragic romance songs, but only Bush would take “Wheeler Street” into such fantastic fantasy. Instead of being cliched, “love lasts forever,” she writes of lovers finding and losing each other throughout time (from ancient Rome to World War II to 9/11 in New York).

“Misty” begins with her building a snowman, who then follows her into her room. He lies down next to her, “his snowy arms surround me / so cold next to me / I can feel him melting in my hand.” Only Kate Bush could get away with this, and like on “Wheeler Street,” she takes the story all the way. “The sheets are soaking and on my pillow / dead leaves and bits of twisted branches.” Her lover melts away, leaving her hopeless.

“Wild Man” and “50 Words For Snow” show Kate Bush’s linguistic skills. “Wild Man” looks at the myth of the abominable snowman, and how it shows up all around the Himalayas. “From the sherpas of Annapurna / to the rinpoche of Qinghai / Shepherds from Mt. Kailish to Himachel / found footprints in the snow,” she informs, clearly enjoys weaving the names of mountains and Tibetan words into her song. “50 Words For Snow” is just that, a song with exactly 50 words for snow, few of which you’ve ever heard before (“faloop’njoompoola,” “spangladasha,” “anklebreaker,” “vanilla swarm,” “icyskidski,” “sorbet deluge,” “boomerangablanca,” “bad for trains,” to name a few).

Bush’s last album, Aerial, was a 2-disc set. The first disc was more typical verse-chorus songwriter songs, while the second was a thematic operatic piece of music, lacking in choruses, and all the songs flowed together. It is one of my favorite pieces of music ever. That one used the sea as a theme, and was lively and intense. In contrast, 50 Words For Snow is more of a shapeless snowdrift than a sea of waves. The songs may be just as intense, but in a much softer way. The end result is very similar: yet another gorgeous, glorious album.

(Also since all the songs are so long, none of them are under the file size limit the blog will allow me to share. So here’s a fan-made YouTube video for the killer Elton John duet.)

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #6. The War On Drugs – Slave Ambient

Slave Ambient

lead me back to the place I'm from past the farms and the debris

I have read a number of reviews and commentaries around the internetz about Slave Ambient. While I kind of find myself disagreeing with a lot of the comparisons (Dylan, what?), many refer to the uplifting sound of their traditional American rock roots. They are clearly meant for a long car ride, turned up loud, sunset behind you. The reviews often leave it at that, though, and not The War On Drugs’ unique stylings.

Personally, I am not sure that traditional American rock is the right description for The War On Drugs. They are definitely closer to shoegaze, the proud genre of loud guitars and mumbled lyrics. The War On Drugs bring some different themes to shoegaze; instead of gazing at their shoes, they seem to be gazing at the open road. (Roadgaze?) A lot of their lyrics are blurry, but certain words jump out – harbors, freeways, rambling, trains, rattling in my brain, farms, debris, Northeast. There’s definitely some sort of world-weariness to the songs, that comes across in the words, the music, and the vocals. He’s just trying to get home, or somewhere. “There is a train we take downtown that buckles and bends from the weight of the ground,” Adam Granduciel sings, “You’ll understand when I leave so suddenly with breeze.”

Despite that weariness though, The War On Drugs have a quite uplifting sound. I think of it in terms of a Woody Guthrie, who also wrote tired-of-the-world songs that lifted you up. But The War On Drugs do it impressively without any choruses. Instead they hook you with the big chord changes, well-timed woohoos!, hypnotic bright drums.

And they make amazing use of the ambient instrumental tracks in between songs. While these tracks do add space between some of the more similarly-paced songs on the album, they also drive the whole thing. “Come To The City,” for instance, is a memorable song, but made even more so by “The Animator,” a 2-minute intro drone that brings “The City” to life. These ambient pieces, I assume, give the album its name, but more importantly make Slave Ambient cohere.

While The War On Drugs are ranked #6 here on my list, the actual ordering is not that precious. I’ve only listened to a couple of albums more often than this one this year. While “number of listens” is not my main criteria in ranking these, it does indicate that, man, Slave Ambient is something special.

The War On Drugs “Baby Missiles”

The War On Drugs “Your Love Is Calling My Name”

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #7. Lia Ices – Grown Unknown

Grown Unknown

the quiet singing in the language that we don't know

Much of what I just wrote about Bon Iver, Bon Iver in my last review also applies to Lie Ices’ Grown Unknown. I guess I love this style! Like Bon Iver, Ices has made a patient, rich album that is also mysterious and intriguing. I usually try not to make random comparisons, but this one is apt, as Justin Vernon sings back-up on one of the songs. So, I like to think of these two albums as companions and complements.

Unlike Bon Iver, Lia Ices is a bit more mystical and mythical in her lyrics. “Love Is Won” appears to be about discovering forever/love as a “tiny jewel in the tiger mouth,” and strriving to “pounce so I can tame the cat / so I can find the myth and let forever out.” “Daphne” tells the story of the nymph Daphne who turned into a tree instead of surrendering herself to Apollo. A particularly amazing song, “Daphne” begins delicately, like you would imagine a Lia Ices song to be: her quiet and close voice over guitar and violins. Midway through, the song takes a turn, becoming heavier and more confident. The music parallels the story.

The more I listen to Grown Unknown, the more I am impressed with Ices’ voice. It never falls into cliched fragility or breathlessness, always maintaining strength. This makes these songs all the more memorable, as she keeps charge of their oft-changing nature. “Ice Wine,” as only her vocals and a string quartet, could have been insufferable with the wrong voice, but Lia Ices keeps it together, and fascinating. “I hate to leave you like the eyelash that flew,” is one of the few lines that can be distinguished: it is one of her more mysterious and dark songs. Other tracks also borrow a lot from classical music arranging, but always to add richness and texture (“New Myth” especially).

There were quite a few of these individual, creative, avant-garde female pop singers this year, from Anna Calvi to PJ Harvey to Kate Bush to name a few. Each were stunning in their own way, and Lia Ices was one of my favorites. Grown Unknown is bursting with musical ideas — folky songs, string quartet movements, seductive vocals, orchestrated stories — yet it is her voice that ties all these ideas together so brilliantly.

Lia Ices “Daphne”

Lia Ices “Bag of Wind”

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #8. Bon Iver – Bon Iver, Bon Iver

Bon Iver - Bon Iver, Bon Iver

at once I knew I was not magnificent

The story behind Bon Iver’s first album, For Emma, Forever Ago was relatively famous. Justin Vernon withdrew into a cabin in the Wisconsin woods and recorded a sparse, isolated acoustic record. His second album, Bon Iver, Bon Iver (the actual title), is an artistic reaction to that.

The album cover is a great representation. A house sits there in the center, but instead of it alone, the view expands, revealing the world around it. The titles (and the title) of Bon Iver, Bon Iver are all meant to refer to places, albeit sometimes unreal ones (“Perth,” “Minnesota, WI,” “Michicant,” “Wash.,” “Calgary,” etc.). There’s more to the Bon Iver world now than just a lonesome cabin.

And musically, too, not just thematically. Bon Iver, Bon Iver feels more worldly and full, while maintaining Bon Iver’s trademark shimmer: seductive melodies, abstract lyrics, falsettos. “Perth” is a surprisingly complex recording, using a military drumbeat and guitars to bury all sorts of sounds that just barely leak out.

“Perth” leads into “Minnesota, WI” and “Holocene” and by now it’s clear–this is a gorgeous album. These songs have a patient flow to them, as they take their time and go through different sections and back and forth. There is very little intensity on Bon Iver, Bon Iver, as they leisurely flow where they are headed. “Holocene” for example does not build anywhere, it strolls. “Jagged vacance thick with ice / And I can see for miles miles miles,” Vernon sings, and as is his genius, I have no idea what “jagged vacance” means, but it FITS. This is not unusual in his lyrics. He has that ability to string words together that may not mean anything technically, but overall, they do/must. As he sings on “Wash.” “we’re sewing up through the latchet greens / I unpeel keenness, honey, bean for bean / Same white pillar tone as with the bone street / Sand is thrown.”

The album closes with “Beth/Rest,” which also clearly indicates that Bon Iver is making some of the bravest music around. He fully embraces a normally-maligned ’80s soft rock sound, and somehow turns it into a moody reflection closing this masterpiece of an album.

I first saw Bon Iver live a few years back when he was just becoming more known after his debut record, and I thought, “with his voice, guitar-playing, songwriting, this guy should be a superstar!” Bon Iver, Bon Iver does nothing to change that; if you like your music beautiful and rich and with feeling, nobody does it better than Justin Vernon.

Bon Iver “Beth/Rest”

Bon Iver “Wash.”

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #10. Shabazz Palaces – Black Up

Shabazz Palaces - Black Up

I can't explain it with words / I have to do it

Black Up
“Free Press And Curl”
atmosphere
spooky
free
infinitum
hypnotic
dark
YOU
felt
glacial
“it’s a feeling”
patient
Digable Planets
shifts
rap
Nubis
trippy
minimal
chant
Youlogy
awkward
smart
ice
cool like dat
endeavors
jazzy
collage
space out
atypical
smooth
creative
odd
“Yeah You”
music capers
postulate
swerve
Shabazz
Palaces

- almostaghost