MoaningsPosted by Roadbloc Mon, April 18, 2016 12:55:01
I like Deftones. Well, most of the time.
They have a horrible habit of doing amazing things in some albums (Adrenaline,
Around the Fur, White Pony, Diamond Eyes, Koi No Yokan) and then in others they
seems to just give up and play some shit that’s just plain painful to listen to
(I'm looking at you Saturday Night Wrist and that God awful self-titled album).
Anyway, they've done a new album called Gore and I'm now going to decide which
category this album falls under.
Absolutely the shit category. There, that
didn't take me long. And believe me, I do not state this with joy. After the
joys of Diamond Eyes and Koi No Yokan I was hoping these guys were back on
track after their two-album wobble. This is not the case.
Put simply, Gore is the worst Deftones album
yet. The most painful to listen to of them all. Guitars blindly screech and
wail for forty-eight merciless minutes as Chino Moreno moans and screams
hollowly over the top. Mostly slow, dissonant and without structure, this album
truly is the aural equivalent of drowning in tar. The only song worthy of
praise has to be Doomed User, which takes us back to the You've Seen The
Butcher vibe but without the kickass chorus. Or kickass verse for that matter.
Geometric Headdress has some decent moments, but is overall lacking in
substance just like the rest of the album.
Gore is without energy. It is without
power. It is without the crunch. Without the umph, the get-up-and-go and the
sheer unstoppable sound that made me like Deftones. Gore is just loud. And
turning up the volume on shit like this is just announcing you're shit to the
If, by any chance, you're a terrorist
interrogator for a government funded military prison or whatever, you may want
to consider purchasing a copy of Gore for torture purposes. It would save on water
and would probably turn out better results. I want to know what happened to
Deftones between Koi No Yokan and this disc full of dredge they call music. Did
their balls drop off or something? Did they forget how to play their
instruments? When listening to this before it was mastered and burned to disc,
were they happy with what they had produced? I certainly wouldn't be.
If you're new to Deftones and want a decent
album that really shows their best, get a copy of Around The Fur. Don't buy or
listen to this trash. And shape up Deftones for the fucks sake, it's not good
when the best thing on your album is the damn cover. I was really looking
forward to Gore and you guys have left me frustrated and angry. Just like my
last hooker. Dicks.
MoaningsPosted by Roadbloc Tue, April 05, 2016 11:09:05
The Qemists jumped into the world on top
form. Their first album, Join The Q, was pure audio gold with its perfect blend
of electronic and rock, all topped off with fantastic guest singers. However,
when it came to their second album, Spirit In The System, things were pretty
much the opposite. They had fallen on their own hurdles, creating forty-three
minutes of audio garbage. It was amazing to see a group that had come out
swinging so strong to crumble and create an album that was on the verge of
being both boring and painful to listen to.
Just for clarity, The Qemists are an
electronic rock group, their music being close to that of The Prodigy or
Pendulum. But better. And more exciting. If you listen to their first album
that is. Seriously, stop reading this shit review and listen to Join The Q if
you haven't already. You owe it to yourself.
Anyway, I was certain the group was a trio,
at least originally anyway, but now looking at their Wikipedia page, they have
five members with one member behind them already. And a new album! It's called
Warrior Sound and I really do hope they've done a good job.
Well, they have. Warrior Sound is instantly
better than Spirit In The System. After a short spoken word intro with some
music stuff going on in the background, we get kicked straight into Jungle, a
track that defiantly sets the scene for what you're in for in the rest of the
album. Drum and bassy, fast, loud guitars and rebellious and defiant lyrics.
Gone is the electronic padding and faff of Spirit In The System, introduce
yourself to neck-snapping beats, riffs and lyrics. And make sure you get
acquainted good because they're not going away. Overall the album feels much
more alive than Spirit In The System, it feels more dangerous, insurgent even.
As much as it is a gift to society, it's also a middle finger riding into the
sunset well over the speed limit.
Warrior Sound doesn't begin to unravel
until you start comparing it to Join The Q. Surprisingly, they're not similar
albums. If I was to describe the albums in colours, Warrior Sound would get a
neon blue or green. Join The Q however would get every neon colour in the
spectrum. And that's because Join The Q is simply much more musically
colourful. There is a lot more variety. Every song sounds different and stands
up on its own merits. In Warrior Sound however, every song begins to sound the
same. After a few listens I wasn't even realising when tracks changed, the
songs seemingly bleed into one another, not because they do, but because they
sound so similar. Sure, there is a shot of adrenaline in Warrior Sound that
seems to be missing from a few of the tracks in Join The Q, but it has less
substance, an overall thinner sound. More umph, but less smoke blow into your
face on take off. Honestly, when compared to Join The Q, Warrior Sound seems… disappointing.
But when compared to Spirit In The System, it’s
a definite improvement, without a doubt. It's just a shame they weren’t able to
top Join The Q, a task that is looking increasingly difficult for the band to
pull off. Either way, Warrior Sound is undoubtedly a step in the right
direction. Hopefully next time lads, you can pull it off. Whatever you do,
don't let your label fuck you up. Don't let them run you. Don't let them run
you. Don't let them run you. Don't let them run you.
Rest assured, Warrior Sound gets a place in
my music collection. It's a good album. Verging on brilliant at times. I recommend.
MoaningsPosted by Roadbloc Wed, March 02, 2016 12:13:31
"I know, I know, I shouldn't even bother with these gossiping, no-pussy getting bloggers."
Let's face it Kanye, without these gossiping, no-pussy getting bloggers, you wouldn't really be famous. 'Yeezus' had me confused, wondering if it was the work of genius or the work of a talentless attention whore. 'The Life of Pablo' answers this question and it is definitely the latter. Disjointed, dysfunctional, depressing are just three words beginning with D that I'd use to describe this album. It is slightly impressive Kanye seems to change his style with nearly every album, and the church choir theme has some interesting moments. But they are only that, mere moments. Kanye spouts his verbal garbage, lyrics only intended to shock, insult and commend himself literally the entire album. Unlike 'Yeezus' which seemed fresh and exciting, 'TLOP' is dull dull boring dull dull garbage shit dull. And just take a look at that cover. What the actual fuck? Look at it! I've seen two year old's finger paint with feces with more talent!
Which just pretty much proves it is not about the music anymore. How could it be? He releases it exclusivity on an unknown corner of the internet and expects people not to pirate it? Comes out with garbage on how he's millions in debt, Mark Suckerberg should bail him out and how he's going to sue Pirate Bay because the exclusive deal flopped? And now he's posting screenshots of his laptop with Pirate Bay tabs open? This is nothing but bait for the gossiping, no-pussy getting bloggers dickhead, the very thing that keeps you a talking point in the eyes of the public.
Why doesn't Taylor Swift just shit on this guy's head whilst he sleeps? I'm sure it's tempting to her, but honestly, she's doing the right thing right now and that is NOTHING. She is seemingly ignoring him. And that is the only way we can get rid of Kanye, his crap music and his asinine statements. Because its the gossiping. no-pussy getting bloggers like me that ignites discussion. And now he's throwing the very people that define his career under the coals.
I don't believe Kanye on any of his claims and I think everything he has done surrounding and in the album has been nothing but an attempt to receive attention, no matter what. And that is why I will not be reviewing any of his albums again, it is not about the music but the hype and the hastags. And I don't want to be part of the making of his career, discussing controversy over things he says in his so-called music. He's full of shit, sometimes by his own admission. And if he told me the sky was blue, I'd take a look out the window to fucking double check.
UPDATE:- It appears Kanye has updated Life of Pablo, making changes to
songs post-release. Well done dillweed, you’ve made the first ever Early Access
album. I did wonder why a lot of the music appeared to be missing from the
MoaningsPosted by Roadbloc Wed, September 09, 2015 09:24:44
Lawl. JME. If there is anyone who is
'serious' about the grime scene, it's apparently him. Forever in the shadow of
his brother Skepta, this member of Boy Better Know did a decent debut effort
called 'Famous?' and then a follow up piece of trash called 'Blam!' where he
just used his microphone to big himself up without actually having proven
himself first. It came across as weak and big headed.
Anyway, it turns out this very serious
Nigerian with a degree, an older brother and a habit of running his mouth on
his songs has done another album, this time called 'Integrity,' a word I'm not
sure that JME understands. And God help my ears because I'm going to try and review it.
'Pulse 8' is the first track. And it is
here we clearly hear a return of JME's junior school production style. Samples
most likely just taken straight from free sound libraries or the junk that
comes with DAW software are prominent just like in his previous albums. There
is a certain slight improvement in his production, an added shine and extra
depth in his music, but not much. I bet JME learned how to make music on that
Nintendo GameBoy Camera. Not that there is anything wrong with it, I did the
exactly the same. I just moved on to Pro-Tools when I went to college. It
sounds like JME stuck to Fruity Loops. It's rare I even mention what they may
have learned from in the past since it rarely matters, but it is still clear in
JME's music. I don't think he's even ready to make music yet, but oh well, this
is the product of a digital age just like me and I doubt I'm even ready to
write a serious review yet.
"One take!" JME boasts proudly at
the end of '96 F**kries' (should it be 96 Fuckries?), after a nearly full first
verse of rhyming 'E' with 'E' and the rest of the song boasting about…um… how
he doesn't own a BlackBerry and other random stuff that has little relevance.
This is encroaching upon 'Blam!' territory once again, the shameless bigging up
without any substance to prove any worth. One fucking take? Doesn't mean shit.
Limp Bizkit recorded the song 'Stuck' on their first album in one take. And
that's Limp Bizkit. Do you want to be on a par with Fred Durst, JME?
Now 'Work' is an interesting song. If
you're a jobless benefit scrounger with ten kids that is. I feel insulted being
handed these petty bars, these petty junior school lessons he's teaching me,
all based on what HE'S done and what I (or 'you') supposedly haven't done. It's
the fucking 4th track and I'm already getting annoyed with this
three letter'd prick. The sheer audacity of his rhymes and claims makes me want
to kill some kittens, which is not a normal reaction when listening to music.
Next up a lesson on how to fucking drive on
the road. Because, you know, JME is obviously better than everyone because he's
made mistakes before and blah blah blah blah blah blah. Integrity? Bigheaditry
more like. I've listened to three fucking albums off this guy now and each one
his pissed me off more and more. I can't abide him.
So I stopped. For the second time ever I
stopped listening halfway through an album. JME's 'Integrity' may get better
after track five but I'll never know because I've had it with listening to this
smug prick's common sense life-lessons being spoken over some beat that he
cobbled together in a morning. I'm not doing it anymore. I've fucking integrity.
Fuck JME. Fuck serious. Fuck Boy Better
Know. Fuck your hired out German whips. Noticed you didn't put that lousy song
on the CD.
MoaningsPosted by Roadbloc Fri, September 04, 2015 12:33:58
I remember the days I used to like Muse.
During their first four albums actually. Starting off as some weird Radiohead
clone and releasing a solid album called 'Showbiz', the band evolved into the
awesome progressive/alternative rock three-piece that created 'The Origin of
Symmetry,' without a doubt one of my favourite rock albums of all time.
Evolving their songs more with added synths and new harmonies, they went on to
do 'Absolution' and then 'Black Holes and Revelations', both excellent and very
different albums in their own right.
Then the inevitable happened. The other two
members of the band crawled up Matt Bellamy's arsehole and died. Not content
with their own awesome sound and legacy, Matt went about stuffing his head up
the arseholes of Freddie Mercury's and Michael Jackson's corpses. 'The
Resistance' was released, a wishy washy weak effort to be something they're
just not, literally and shamelessly copying the vocal harmonies of classic
Queen and recycling riffs and endless arpeggios of the previous albums.
Complete pretentious crap. I hated it.
Things didn't get better. 'The 2nd
Law' wasn't any better. Their Olympic Games ceremony song sounded like they
were trying to summon some sort of demon and the rest of the album seemed
intent on making the same mistakes 'The Resistance' had made. The band really
needed someone to knock Matt Bellamy's head in and tell him he cannot just copy
the music of dead artists and expect to be recognised positively.
Their seventh studio album, called 'Drones'
was apparently going to set things straight once again. Supposedly returning to
their roots (hah yeah right), this new album was meant to aid the band in
reconnecting to who they really were. So far so good right? Well… no.
'Drones' begins off with something that
sounds like it's off Queen's 'Hot Space' album called 'Dead Inside'. In fact,
they still haven't stopped using Queen's vocal harmony, which everyone is going
to still recognise as Queen because IT SOUNDS LIKE FUCKING QUEEN. I don't think
we're stupid Muse, and I'd like to think that you don't think we're stupid.
When we hear them high pitched harmonised screeches, we think of Queen, not
Muse. Come up with your own vocal harmony. Minus two points.
After a cringe worthy skit, things begin to
improve. 'Psycho' has a catchy and solid riff and manages not to copy anything
off anybody else. It sounds a bit like a few other Muse songs however, such as
'The Uprising' just without all the synths and the army soldier dude yelling
in-between the verses is kinda pretentious. Minus two points.
'Mercy' sounds a lot like 'Map of the
Problematique' from 'Black Holes and Revelations'. They synthy piano keys and
background arpeggios that they appear to stick into many tracks are beginning
to sound samey. Minus two points. The next track, 'Reapers' is actually very
good, despite the guitar solo being a bit monotonous and boring, so I'll give
them plus two points for that.
As we get into the middle of the album,
things get interesting. For one track at least. 'The Handler' reminds me of
'Citizen Erased' off 'The Origin of Symmetry' album and despite the lack of
real climax in the song, it sounds great. Plus two points.
Minus two points for every track after that
because they're just fucking boring. This is strange because on paper, 'Drones'
sounds like it has everything I want from a Muse album. A healthy balance of
new and old, whilst still sounding like Muse and not some other artist who is
infinitely better and infinitely more dead.
Lyrically, Bellamy appears dead set on
themes of futuristic war and inner struggle, nothing really new there since
that is the exact vibe 'Black Holes and Revelations' had. Musically however,
the band appear dead set on boring me. And it isn't because they've stripped
away most of the synths and effects and full blown orchestra's they had in their
last two efforts, it's just because the music is boring. 'The Origin of
Symmetry' had a similar sound and production to 'Drones' but is infinitely
better because it isn't as clean cut. There is spontaneity throughout, passion
and anger, love and hate and an awesome cover of 'Feeling Good.' 'Drones' is
too safe, too clean cut. It's the boring pop songs of 'The Resistance' and 'The
2nd Law' just without all of the studio effects and added synths.
There is nothing here that screams 'we spent two fucking months perfecting this
song,' just music that could have been thought up in an afternoon. Minus two
Maybe I'm being harsh. Well, actually I am
being harsh. There are some redeeming values of 'Drones.' The fact that is
better than their last two efforts is probably the biggest one. It isn't their
worst album by a long way, that would go to 'The Resistance.' There is just
nothing new here, it's a mediocre mix of old and new Muse with a generous
helping of Queen thrown in there. It's a big shame, I hoped much better of this
album. Minus two points.
I think Muse have probably evolved into
something I can never like again. Which is a shame, but their early works are not
going anywhere and no matter which dead artist this band chose to rape next, nothing
is going to stop their first four albums from being good. We will see in the
future if Muse can pull something out of the bag I can like again, technically,
with 'Drones' they're halfway there.
But I swear to God if they don't stop
copying the vocal harmonies of Queen then I'll never forgive them. It's not
big, it's not clever, it isn't even a remotely intelligent move and I'll never
ever understand why they decided to do it. Minus two points.
MoaningsPosted by Roadbloc Thu, September 03, 2015 10:03:06
I quite like Alien Ant Farm. Especially
their first album, 'ANThology'. (Go fuck yourselves 'Greatest Hits' fans, it's
a fucking demo or EP at best.) Thirteen awesome tracks that feature a unique
blend of rock and nu-metal, with a terrific cover of Michael Jackson's 'Smooth
Criminal' to put the cherry on the cake. All in all 'ANThology' was a nice
debut cake, one even Mary Berry would be proud of. However, their 2nd
and 3rd attempts at an album were kinda… meh out of ten. Both
'TruANT' and 'Up In The Attic' featured some solid tracks such as 'Drifting
Apart' and 'Bad Morning' but failed to reach the brilliance heard on
It turns out during and after the creation
of their 'Up In The Attic' album, Alien Ant Farm went through some rather major
disputes with their record company, Geffen. Geffen appeared to be under the
impression that promoting Alien Ant Farm was a bad move and the releasing of
their third album took pretty much a whole year from creation to be released,
the band handing out bootleg copies of their work to fans in the meantime. They
split in 2007 after 'Up In The Attic' sold poorly, most likely due to Geffen's
OCD to ensure AAF remained a secret.
Anyway, it's 2015 now and the band have
finally got their arses into gear for a 4th album. Nearly the
original line-up too, only the bassist deciding that he'd rather help Limp
Bizkit's bassist on tour instead.
'Always and Forever' starts off well. From
the start, it is unmistakingly AAF. Dryden Mitchell's high pitched vocals
pierce over the music from what sounds like is going to be a slightly heavier
album than usual. 'Simpatico', the second track re-enforces the vision of a
heavier album with a heavy and complex riff, albeit, repetitive lyrics. From
there however, things change.
The introduction of synths and drum loops
is a curve-ball. But a welcome one. From the dawn of time, even with
'ANThology,' AAF albums start off strong and slowly lose momentum as they go.
This attempt to keep tracks sounding fresh plays out well, however it doesn't
really stop the slow losing of momentum throughout. It keeps it going longer
than both 'TruANT' and 'Up In The Attic' but eventually by the time we get to
'Homage', my ears are losing interest and the songs begin to bleed into one
And this is one of the things I'll never
forgive AAF for. They can come up with some brilliant tracks, but no matter how
much they try, their albums always seem to devolve into boringness. To give
them their credit, they do try in 'Always And Forever,' but it isn't quite
enough. Too many songs towards the end of the album sound similar or, like 'American
Pie' are just plain fucking boring. It's as though they become disinterested
with their own work as thy go along, not that I'm suggesting they make their
tracks in order, but if they did, it'd make a lot of sense.
One good thing. Well two actually. The last
two tracks 'Better Weather' and 'Dirty Bomb' do pick it up… a bit, for a nice
satisfying ending. Maybe I'm expecting too much or being a bit harsh, but I
don't like it when artists don't evolve. Bands like Iron Maiden and AC/DC that
literally make the same album over and over again. It feels like AAF are
encroaching on this territory, even though I know full well that they have
touched a wide rage of genre's in their time. But it feels like AAF don't have
a comfortable home except the few true nu-metal-ish tracks at the start of
their albums and the tepid shit they provide after that. Their genre-dipping
remains mostly ignored, at least in my ears.
But I digress. Is 'Always And Forever' a
good album? It is. Almost on the lines of very good like 'ANThology'. But not
quite. Don't get me wrong, it's much better than both 'TruANT' and 'Up In The
Attic', but it doesn't quite beat their first afford. Still, a new AAF album
after all this time is very welcome, and AAF fans will most likely rate this
album. For everyone else, get yourself a copy of 'ANThology.' You won't regret
MoaningsPosted by Roadbloc Mon, August 17, 2015 12:23:01
I like Dr. Dre. Even if it seems like he's
spent the past decade doing naff all and the decade previous making only two
albums. Yeah, yeah, I know, he signed Eminem too and at some point told someone
to make him some headphones and sell them to Apple. Either way, it has been
fourteen long years since his last album, '2001' probably one of the best rap
albums ever. No wonder it took over a decade. I bet he was quietly hoping the
world would forget who he was because '2001' is a damn hard album to top.
I was under the impression his next album
was to be called 'Detox.' I'm certain both Dre himself and Eminem had mentioned
the name, but when I got my CD it said 'COMPTON – a soundtrack by Dre.' I guess
this new movie thing that I couldn't give two shits about that Dre may or may
not be affiliated in, no idea, because I couldn't give two about it, could have
tempted him into doing an album. Or a soundtrack for it. What the fuck is this?
A movie soundtrack or a Dre solo album? I'm just gonna assume a Dre solo album
because I'm never going to watch that movie, regardless if it is good or not.
After a first listen, I thought it
revolutionary. A Dre album in which Dre hardly appears. Not far from the truth
either. All except one track is featuring some other set of rappers, Kendrick
Lemar, Ice Cube, Eminem, Snoop Dogg the list goes on. After a long intro and an
annoying electronic vocal based chorus, Dre drops a verse in track two. He
sounds different. Every rapper except Eminem sounds quite different on
'Compton.' It took me a few listens to 'One Shot One Kill' to realise that it
was Snoop Dogg rapping. This makes for a surprisingly fresh album.
People expecting more of '2001' will be
disappointed. Like 'The Chronic' before it, 'Compton' is a very different
album. It's also a very good album. As always in Dre's productions, the beats
are simply top notch. They're fresh, catchy and even very experimental at
times. The bass in all of the tracks sounds fucking sexy. Out of a decent
speaker that is. Nobody is getting turned on with this playing out of an iPhone
Despite this, 'Compton' feels kind of safe
too. It's all 'motherfuckers' this and 'niggas' that which I don't mind at all,
but as far as the lyrics go, I don't feel many verses. Maybe it's just me, but
the auto-tuned choruses start to get irritating too.
This album is going to be like Marmite. Dre
fans like myself will most likely love it and I do love it. People not into rap
will probably not rate it much. Captain obvious strikes again, but I really
think this will be the case. 'Compton' has some great tunes and a couple of not
so great ones that can be overlooked. As an album it flows very well, no track
really feels out of place and even if there is a certain lack of Dre verses as
guest rapper after guest rapper takes the mic, there is no changing the fact
that 'Compton' feels like a Dre album through and through. Defiantly different
from '2001' but defiantly a Dre album too.
So yeah, fuck it, I like it. I've heard
this is meant to be Dre's last album and to be honest, this is a damn fine
final bow. I'm still giving '2001' the edge if I must order the albums in terms
of greatness, but despite a couple of duff tracks, 'Compton' is a fantastic
album for Dr Dre fans.
Now if only he got someone talented to
design his headphones.
MoaningsPosted by Roadbloc Mon, May 11, 2015 15:42:43
"What ya gonna do today Ninjy,
huh?" Perhaps a question we don't want answering.
Die Antwoord have always amused me one way
or another. Their debut, '$O$' was something I really rated despite low quality
production and some really dumb tracks. When you pushed through the issues and
immaturity however, the album was filled with intelligence, creativity and some
really interesting lyrical themes, no doubt based on their life in South Africa
which I cannot begin to comprehend as someone who lives in the middle of
fucking nowhere in England.
To my delight, the raving, rapping trio
were signed and they eventually released a follow up album called 'Ten$ion' an
effort that felt much better produced and slightly more mainstream, but also
digging themselves into a hole of immaturity. Maybe that was the point? Who
knows with these guys? They're the most bizarre group I've witnessed in my
life. I have no idea what to take seriously about them.
Anyway, not long ago they released a third
effort called Donkey Kong or something, so I have it a listen. And here is my
synopsis. It's shit.
Don't get me wrong. There are some good
tracks within and throughout, but they are few and far between. 'Happy Go Sucky
Fucky' is probably my favourite track, which judging the title, doesn't say
much for the rest. The album has major issues. It feels confused and lazy. And
despite it being the best produced album of the lot, the lyrical content alone
makes 'Donker Mag' a poor effort. My cousin mentioned that the album reminded
him of I.C.P and I realised he was right. They're on the verge of being Insane
Clown Posse, which is never a good place to be. 'Raging Zef Boner' is an insult
when compared to their previous songs like 'Babies on Fire' 'Fish Paste' and
even 'Fatty Boom Boom' which all seemed immature but also had an underlying
message that brought a more mature spin on the entire thing. I do not want to
hear about Ninja's fucking boner. It's a cop out. It isn't even funny like The
Funkoars 'The Phallic Menace' which is pretty much the exact same song but much
Then there are the skits. Way too many of
them and most of them nonsensical, they are there only to pad out the album.
Pointless, not complementary. A waste of time. I get the horrible feeling that
Ninja and whatever we're meant to call that girl-thing he's with are resting in
their laurels. Simply saying stuff to be deliberately provocative. Its began to
feel like they no longer give a fuck.
There is one member of the band I've yet to
comment on, and that is DJ Hi-Tek. Who will no doubt 'fuck me in the ass' after
this review. Well, hopefully not because I actually have some nice things to
say about him. You see, their debut $O$ sounded like it had been recorded and
produced on a Windows 98 PC running Audacity. The tracks were kinda dodgy, the
so called 'creativity' could easily have simply been limitation. When we get
onto 'Ten$ion' Mr Hi-Tek must have been given some better hardware, maybe a mix
desk, some real DAW software and perhaps a better PC. Three albums in and now
Die Antwoord clearly have enough '$' DJ Hi-Tek really is high tech, probably
with a studio of his own filled with plenty of audio hardware and fruit branded
computers. What I'm trying to say here is that the music is one thing that has
consistently improved with each album and 'Donker Mag' is no different. It's
great to see actual improvement somewhere in their crazy evolution.
Unless you're a die hard Die Antwoord fan,
I cannot recommend 'Donker Mag.' It feels like a half arsed effort. And whereas
the music is better than ever, the lyrics lie low in the pit of shock explicit
sex and anarchic slurs, with little thought or context. The overall flow of the
album feels off and somewhat forced. It isn't good. Hopefully, the band will
agree and maybe focus on being a little less tacky and a little more genuine in
the future. And stop it with the fucking skits, they're not needed!