tpytpytpytpy (recent news and a discog ranking)

> The Planet You just announced on twitter their official last show ever, which is gonna take place at the MEATLOCKER in montclair, nj (link) on september 3, 2022. its also ten hours away from me......kms. anyway they Also released two last songs as a final hurrah and theyre really fucking good obviously. i cant believe i havent geeked out over these guys yet on here considering theyre one of my all time favorite math rock bands. 

if youve never heard of them before, congrats--they make for an incredibly infectious, unforgettable first listen. i hope this post prompts you to at least check out their most popular stuff. i hope youll love it as much as i do!!! :))) heres their bandcamp too because their new single and one of their albums isnt on spotify. today im gonna rank their three albums bc i think pitting two recent songs against three albums dating back to 2017 is a bit unfair haha. hope u enjoy >.<

1. Techxture

> 2020, not on label

> on their latest album, The Planet You keeps the prog influence while injecting some jazz and experimental ideas as well. they completely smash through the ceiling when it comes to the energy this record exudes. easily their most wild-eyed, foamy-mouthed album thanks to anxiety ridden guitar runs rounded out perfectly with layered screams and croons and drums that will give you a heart murmur. and just when you think you cant take anymore, they shove your head underneath ice cold water. its refreshing really.

the way they build suspense in this album is unmatched by the rest of their discog. they dont waste any time with it, admittedly, favoring smaller melodic pieces before an electric sonic explosion instead of something longer because this record is incredibly urgent and manic and we dont have time for that. the drums stand out a lot too, sounding akin to noise rock staples. while this is their most polished production-wise it still has a raw feeling lent to it by the subtle twang of the guitar and the carelessness of the melody as it flows and ebbs wherever it pleases. this record doesnt wait for you at all which is what makes it so compelling and arresting. 

all in all, all you really need to know about Techxture is that it witnesses the peak of The Planet You's technical ability and the thrilling climax of their sparky song structures and capabilities to pull a song together even when its individual components seem miles apart. it's got a wonderfully diverse track list while still staying true to its incredibly original, unmistakable experimental prog math sound. wildly exciting and attractively perplexing, this album will keep you on your toes. it's in my top 100 albums for a reason and i hope it tickles u as mucha s it does me ! :))

>favorite songs:

Cloud Emissary

Perigree

The Electric Lesson

2. The Planet You

> 2018, not on label

> The Planet You is definitely one of those bands who only gets better with each release. on this album we see better production (yay <3), even slippier riffs, and a new ferocity in the drumming. every time i listen to this album, i find something new to love, new parts in each song that i somehow missed last time. and they only add even more to the kind of cryptic feel this album has. very mystical and even psychedelic.

they add a proggy atmosphere to this album, especially evident on tracks like "Posilutely!" and "Cursed." they never let one facet of an idea hold them back for too long, and theyre constantly experimenting and confessing as a gateway into their minds. i really enjoy the choppier guitar on this album--it's the kind of speed and accuracy that catches you by surprise. on a first listen, it might feel a little too compacted, but as you hear it again and again, the genius really begins to show. every instrument seems to dance around one another, with the drums biting at the heels of the incessant, thunderous heartbeat of the bass. the guitar tops it all off perfectly with blindingly fast chord changes.

and then there is "Burial Ground." god i love this song. every time it comes on i keep it on repeat for like half an hour because it always just completely blows me away. for three minutes math rock styling with prog and jazz sensibilities is traded out for a cryptic, sandy, hard-hitting electronic track. not only is it absolutely gorgeous, but it shows their talents in curating an atmosphere and speaking without words. just incredible, one of my favorite songs of all time.

what puts this above I Too (Me Also) is not just the better production but also the introduction of prog influences and more purposeful drumming. if youre looking to get into The Planet You i would absolutely recommend their self titled album as your first listen.

> favorite songs:

Burial Ground

Idhisbaa!

Cursed

3. I Too (Me Also)

> 2017, released on All Sounds

> this is a real treat for people who love their math rock just a little bit lo-fi. for me, however, that is where it seems to fall. while the somewhat poor production makes it feel unpolished, it also adds a layer of coziness and familiarity that i think is an interesting contrast to the album cover which leads you to believe it's going to be sharp, angular, and unforgiving. even though it is all of these things musically, like i said, the unnecessary peach fuzz texturing is distracting. when i listen to this album i always wish it was just a little more precise, then it would hit right on the nail. however, i do need to be a bit lenient considering this is their first album.

while i make it seem like the production is an irredeemable wound the pure musicality makes up for it, which is why it had to take number 3 (somebody had 2 do it). tpy has a spastic, urgent, manic quality to their brand of math rock that really draws you in. it snakes around and pushes the limits of technicality in a style reminiscent of Orthrelm before it reigns itself back in as an act of self-preservation--as if they jammed any harder they might fall apart. tight song structures with wavy synths and heartfelt drumming splattered with cymbal crashes and tinny yelps from the hi-hats. combine all this with swinging melodic bellows and whimsical lyrics, and youve got a great album.

my favorite thing about any tpy album is probably the guitar, and their first album is a great example of the potential they nurtured. impeccable timing meets undeniably groovy and shiny riffs to combine with a tip-toeing bass line in an emotional flabbergast that can really only be described as a hurricane of sweat and tears. it's almost like theyre pleading out to you for forgiveness, for a yearning gone haywire. overall, an amazing debut that i wouldnt hesitate to play on a foggy, humid day spent outside scrambling along sidewalks.

> favorite songs:

Please Guess My Birdcalls

There Is Always A Shrimp At The End Of The Rainbow

The Three Tree

> if youre going to miss The Planet You as much as i will then ive got some good news for you....one of their members has a little project called Loon Lord thats just as good and is definitely doing shows or something. check them out on spotify !! have a good day ^w^

music journal #1

>i thought it'd be fun to write about albums/whatever as i listen to them n take the pressure off myself to write a complete and comprehensive review. these will also be nowhere near as long (hopefully) because i'll just be jotting down what i hear and how it makes me feel haha. enjoy -w- !!!!!!!! (everything on this list in on spotify btw !)

#1 パタミュージック by Shohei Amimori

>the english title is PataMusic, but the title is japanese on spotify so i decided to use that one in an attempt at accuracy. immediately grabbed my attention with the first track ("Climb Downhill 1"). what an exciting and innovative little glitch pop/idm kind of track; it builds the intensity so well. it feels like im in a mandelbrot set zoom !!!! very very cool, i fcking love it so far (read: one song in). im also trying to draw a lobster rn. also also i need to start putting my art on here so i can use this blog as a kind of portfolio as well.

the second track is another fun, springy, stunning dance of bells, beeps, boops, and abrasions. shohei sings on this a little bit as well and his smooth voice rounds out this track really well. it takes pn a tender monotone before a charmingly discordant guitar loop pushes you back into an already signature world of motion and bright, tinny inflections. im enjoying this album a lot already lol. these first couple tracks are all over six minutes so if you'd like to check these out (pls do) strap in and grab yer sketchbook. 

track three ("いまといつまでも") begins to showcase how masterfully shohei uses syncopation in his compositions, which reminds me a lot of rob crow. cant believe i havent reviewed anything from him yet, i'll have to dedicate a whole post to it lol. each second is filled with an amazing synth poppy groove accompanied with layered vocals. i should be dancing to this rn!!!!!! next we have "ReCircle" which sports a moody violin sample underneath fittingly haunted synth pops and swirls, and is the second shortest on the album at 3:14. near the latter end of the song crickets and other night critter joints filter in and add a really soothing ambience. it plays its part well as an interlude.

soon we jump back in to rickety, sublime glitchy goodness with "ajabollamente." im really enjoying the almost halloweeny 8-bit synth in the background. its only getting more manic and anxious with each passing second. i think the hazy, pulsing bass is what sells that part before the tension ruptures and it launches you back into what i can only describe as a circus fire. YOWZA!!!!! and as that track ends, "Climb Downhill 2" begins. instantly we are rocketed into blisteringly sharp and dedicated synth ladders. i love it i love those. ope and we are going right back up again! alright! this is my favorite way for musicians to use noise: as a demonstration, not exactly a performance. it says to me, "watch me go! look at how far we can squash and pull soundwaves." it is something i enjoy with a willful, curious ear and an awestruck mind. 

#1.1 Personal Locater by Xerobot on the album Xerobot

>we take a brief break for Personal Locater by Xerobot, remastered by Weasel Walter, who was very quickly climbed my list of favorite musicians. greg's (different guy,  couldnt find his full name) vocal delivery is exceptional on this track, which is a terribly fast 1:06. he sounds wild-eyed and foamy mouthed which is exactly what i want from my noise tracks. the guitar serves as sound effects in parts of this song, which i love. the bass supplies an undeniable groove that makes it hard to not listen to this song on repeat a few times. each instrument, as you move through the layers, is sequentially more larger-than-life than the next, and i'll say it again, greg's voice makes it perfect. the way he says PERSON AL LO CAY TER , Always wanna get Sum, and Fire In the NITE makes his energy absolutely infectious.

#1 パタミュージック by Shohei Amimori (cont.) 

>next i encounter track seven which is an absolutely jawdropping smattering of ambient coos and trip hoppy percussion and synthy chirrups. we're computer boys! track eight, "パタミュージック," has over 100k plays on spotify, which makes sense considering its much more poppy and lighthearted sensibilities, at least compared the rest of the album and its experimental vocality. while i do like the breathless feeling of the instrumentals, it's not really my style. an exciting return to crackling and yipping sounds is made on "Washer." there' also a beautiful sample of a bubbling brook in here.

#1.2 Diotima by Krallice on the album Diotima

>another quick break but also because listening to Xerobot got me thinking about Orthrelm and then Krallice. jesus this song is so long. twelve and a half minutes !!!!!!!! i think when i was telling someone about this album i called it sludgy tech metal but im not too sure about the validity of that statement. its more blackened and proggy than sludge but whatever i still really love the solo on this song, its a perfect mix of fury and sobering tearfulness. i sound so dumb rn lol but whatever i love getting super snobby with it. i love how generous they are with the cymbals as well. this is a really well-constructed and dense song but i love every second of it.... quite an adventure.

#1 パタミュージック by Shohei Amimori (cont.) 

>we are close to the end of the album. track ten is similar to the other one which i didn't love just because this bubblegummy, crystal clear kind of pop just is not my favorite thing. however i can't deny that i love the maracas on this track !!! they're refreshing and add a really nice crunchiness that is hard to achieve with the gliding synths that shohei has been using. also enjoyable is the voice modulation, transitioning smoothly from his normal, unedited vocals to a claustrophobic vocaloid caterwaul. finally we are on the last song. immediately an energetic popping of synths and an awkward, prepubescent lattice of bells. i like how it kind of stumbles and trips over itself. its exciting and a perfect way to sum up this album. if you listen to anything off this record, listen to "Climb Downhill 2" and "ビエンナーレ." i don't know enough of this album for a comprehensive rating but its pretty good !

#2 Xerobot by Xerobot

>YAY!!!!!!!!!!!! i was so excited to share this with you guys. already (four tracks in) this experimental noise rock album feels so jumpy, visceral, and masterfully fleeting. the songs are short but sweet and get it done. there's no telling where greg's voice will take you next. he accesses a fanatical falsetto a=before swooping back down into a hoarse sort of cough-yell combination. it's untamed, in a word. and what an incredible beat him and the bass create as well. im bopping along to the music as i type this. 

the drums are perfect so far, keeping an almost marching band-like precision with typical noise rock spontaneity and mobility. while i say typical, it is anything but boring--in fact it think it's some of the most exciting stuff on the album. take "Whisper," for example. the drums kind of tip toe along, keeping the same tentative rhythm as the rest of the instrumentation on that track. but when "Wrustle" comes on, the drums let loose, knocking over vases and smacking people in the mouth with its flailing intensity and hotheadedness. 

i also love the tone of the bass and the juxtaposed screeching of the guitar, which really only bares its teeth during a chorus or brief wild spazz free whatever break. 

#2.2 Ever by Flipper on the album Album - Generic Flipper

>cool noise rock/punk track. darker lyrical themes meet dissonant, irresponsibly fuzzy and muted guitars. "Ever look at a flower and hate it/Ever see a couple kissing and get sickened by it/Ever wish the human race didn't exist/And then realize you're one too." yeah me too pal. damn this is good. i found this scouring the web for info on the mentally ill, another stupidly crunchy hardcore punk band. 

#2.3 Life is Cheap by Flipper on the album Album - Generic Flipper

>ohhhhhh yeah this is the good shit. it actually is quite similar to the mentally ill which really tickles me pink because they've only got the one album out and then some remastered/previously unreleased tracks. im glad to finally get more for my weirdo 70s hardcore fix. the vocals on this track (wobbly, creepy, a bit wild-eyed) reminds me a lot of The Witch Trials by The Witch Trials, which was Jello Biafra's spoken word/noise punk project from before Dead Kennedys. 

i like how the instrumentation comes off as exasperated, hateful, just straight up repugnant. it works amazingly with the misanthropic lyrics.

#2.4 The Witch Trials by The Witch Trials

>yeah im listening to it so what. this is so fucking cool please check it out!!!!!!!!!!! the sound design is incredible, they create an amazing atmosphere and then shock you (ha) with pointed bass riffs and an incessant, tinny drum beat.

>i think thats all for today. thx for reading !!

REVIEW: Through The Mirror by ENDON

>Through The Mirror by ENDON (2017, Hydra Head Records) (bandcamp) (download)

>genre: extreme metal, avant-metal, avant garde

>best enjoyed at loud volumes, i've heard one song ("Your Ghost Is Dead") off this album prior to a full listen and it really stuck with me. an incredible, unapologetic assault on the senses, that song rots and eats away at your brain. it's almost poetic in its sonic mystery. it's a massive tangle, a huge knot of exhibition and sweat and sawblades, a piercing and beastly enigma of a song. so i was definitely excited to listen to this album today. plus i need to listen to more grindy, heavy stuff anyway. i haven't checked it out in a while.

"Perversion 'Till Death" has some of my favorite vocals on this album. at just a hair over ten minutes, the buildup and release in this song is perfect-- it has a chaotic opener with guttural, demonic screams and screeches and equally unsettling, frantic drumming. the guitar makes it irreverent, a delicious opposition to the ritualistic manner of the melodies. about four minutes in, we reach a breakdown: a no-holds-barred, pounding plea to any higher force before squealing away and back into this album's signature terrifying atmospheric noise. the guitar writhes its way back into the top harmonic layer of this song until it falls back into grisly yelping... that is, until the final piece of the puzzle comes in. the last few seconds of the song, the paradoxical crashing of a waterfall, serves as an offering and also a reunion on holy ground.

their self-assigned identification as "catastrophic noise metal" is perfect, because that's exactly what it is. marked by exceptional vocal dynamics, a guitar sound so monstrous and contorted it's almost heretical, and samples and synths shrill enough to rip through the fabric of time. on top of this the orchestral additions give it that surreal appeal. somewhat slippingly, the drums don't seem to live up to the rest of the noncompliant arrangements we see on this album, but it doesn't take away that much: if anything it's proof that these tracks are still grounded in some tangible reality. they are the manic bestial heartbeat of this monstrous album, especially on a track like "Born In Limbo." on this song we hear everything from a cackling dolphin to separately reversed and hellish blatherings to flat-out deprived shrieking. the drums is what make it accessible because otherwise this would just be a chaotic, freaky sound collage (not a bad thing). 

however, as i listen to this album more and more, it begins to reveal itself as more than a smattering of juvenile impious urgencies. there's a inimitable beauty to it, like all other extreme/avant-metal albums i've heard, after repeated listens. it's incredibly rewarding. it's a brain blast, a minecart ride through a cultish sex cave, an expression of little more than perfectly summoned dischord. i complained about the drums earlier but they do have their much brighter points on the album. take "Postsex," for instance. they work you into a sweaty freak-trance only redeemable by thrashing until you can barely breathe. it's insanity incarnate.

reaching the end of the album, we reach more melodic bits with the guitars in "Through The Mirror," a crashing battle of crescendos and squeals like metal grating on metal. a couple sound bits of sobbing and dry heaving later you slide hellwards into a chorus of perfectly executed screams, and the voice of the guitar takes on a more garden of Eden-like quality that transitions perfectly into the final song. "Torch Your House" begins as an ode to all things to all this beautiful and terrible, to the creator and the destroyer. the saccharine sweet drone it plays with in the beginning moments melt away with the guitar. it gets a little djenty if i'm honest, but they do it fast, hard, and well before they move on to something more hard-hitting. it feels like the ending to an epic: sweeping, very final, and incredibly emotive. as i write and listen to the last three minutes i feel quite satisfied with what it accomplishes. a final yell for life rings out through the drums and clear-ringing guitars before it descends into its last seconds of existence, somewhat heavenly in its singing and thumping guitars.

what a journey of an album. jesus christ. reflecting on it feels weird because it already did all of that for me. however, with a clear head and heart following that fucking motherload of a record, i can say with confidence that it's good. really good. my only complaint, really, is the drums and small but painfully cheesy djent section in the last song. other than that, this is a solid 4.5/5. vox, guitars, atmosphere, everything else, is perfectly crafted and really draws you in. i definitely recommend this for anyone looking for avant-metal outside of maudlin of the Well and anyone who likes extreme music in general. i've included the bandcamp and a free download link as well but remember to ALWAYS support artists when you can. bye

REVIEW : Chrome Ghost EP by PFFR

 Chrome Ghost EP by PFFR (spotify)

(youtube)

> genre: experimental, noise rock

> released on Birdmanaphone in 2005

> what a charming little ep. at a breathy six songs, this release is nicely rounded with frizzy guitars, exquisitely placed samples, and a diverse menu of vocal styles. "uber cougar" is a great example of the latter: it slips out a husky whisper in the beginning of the song, which begins to syncopate obtusely with disciplined whines. it sends you through a smashing together of stories before ending generously with a preconditioned campfire voice warning you of treacherous weather patterns... thunder and lightning... lightning and thunder...

their nostalgic yet artful harmonies shine through the chorus on "japoney apple" and "let's make it tonite," and fit quite seamlessly with their healthfully spontaneous samples of car horns and shattering glass alike while keeping a fleetingly itchy, incessant rhythm. on all the tracks we are treated to an interesting chorus of flitting, sometimes modulated voices, all seeming to have just finished running a mile and fueled only by their force of foolishness. even on more the more somber track "rainy day," PFFR accesses the fondly loved niche of angsty coming-and-going-of-age music--something to stare at passing street lights with. 

on a jumpier note, "sounds like a mexican" is a great example of their use of distortion on the guitar and buzzing synths: it maintains an arab on radar-esque appearance while keeping its roots firmly planted in electronic sensibilities.

all in all, i definitely like some tracks much more than others, namely "rainy day" and "uber cougar." "japoney apple" was just a little weak for me and relied too much on the harmonics especially in the chorus. it just didn't feel especially inventive which is something i really crave with my music. i do still enjoy this ep a LOT, though, for its soaring highlights and irresistibly unashamed guitar and synth riffs. i give it a long, hard 3.9/5.

a warm welcome to You!!!!!!!!

 hi!! ^w^ my name is gail (they/them) and ive started this little internet corner to share my love for art and also to have a place to put whatever ramblings i can flesh out enough to post. this blog will serve as a sort of creative archive for me, and i hope you can find something you like in here too. im probably going to be posting a lot of inconsistent music and book reviews along with some pictures i like to take. thanks for joining me on this ride :p im also going to try and post download/bandcamp links when i can so this can be as accessible as possible. i know how much of a bitch spotify free is