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supported by 8 fans who also own “SMILIN' DAYS, SUMMER HOLIDAY”
This is undoubtedly my single favorite album of all time. It feels like such a perfect culmination of all the themes and ideas Fleet Foxes has been working with since 2008. It answers many of the questions found on both Helplessness Blues and Crack-Up, and represents an incredible maturation and growth in Robin Pecknold's perspective. Their other albums are certainly masterpieces, but this, in my opinion, is their magnum opus. I doubt it will be recognized as such in its time.
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Everywhere at the end of time
by The Caretaker
supported by 7 fans who also own “SMILIN' DAYS, SUMMER HOLIDAY”
Actually astounding and emotionally moving, creating a community that I have been proudly a part of for 2 years
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supported by 7 fans who also own “SMILIN' DAYS, SUMMER HOLIDAY”
saw them at a khurangbin concert and they slapped. vibes are yuge.
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Cermony's Ross John Farrar experiments with synths, bass, & percussion to make music similar to that from the '80s homemade tape scene.
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The second EP from UK duo Pecq features bubbly synthpop swirled with a bright psychedelic haze.
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The Australian art prog trio departs from their previous sound and lean into a mellow and surreal soundscape.
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supported by 6 fans who also own “SMILIN' DAYS, SUMMER HOLIDAY”
saw Thundercat for the first time recently - truly a GOAT of live performers. this album is him in his most honest, focused, and emotional state, and it beautifully intertwines his silly artistic voice with his stories of struggle and loss. the album is short and sweet - BUT, if you want to see him and his friends jam a little longer on these ideas, definitely see him live. the dude literally practices like Coltrane and it shows.
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