Roadblog

Roadblog

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This is where I moan about stuff. Mostly music.

Deftones - Gore

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 whole world.

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.





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The Qemists - Warrior Sound

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.



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Kanye West - The Life of Pablo

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 tracks.




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JME - Integrity

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.





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Muse - Drones

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 fucking points.

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.





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Alien Ant Farm - Always And Forever

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 'ANThology.'

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 another.

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 it.



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Dr Dre - Compton

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 speaker.

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.



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Die Antwoord - Donker Mag

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 better.

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!



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