Sayin'. This is the best thread in weeks. I wish I had the time and means to make some.
And I agree, some album info for some of these would be cool. Although it's kinda cool to just have the covers and let the viewer imagine what it sounds like.
Im guessing from his avatar of a reeses peanut butter cup with wizard rock h's on it that he is a "professional" designer and is scoffing at the designs of people just having fun...
Yeah, I'm fairly sure most of the people making these covers are not designers. I know I'm not and my shit sucks something terrible if being judged on a professional level. It's just kind of fun to see what random combination comes up and whether or not it meshes thematically.
Saying. I love this thread. And most of you guys could totally get a graphic designer job for, say, Vampisoul or yer average underground rap or indie rock label
I wish I could contribute, but my photochop game is weak. Maybe I'll try anyway.
Rupert Davies There's Always Someone Mad At You (self-released) RATING: * * * * * (out of 5)[/b]
Do the leaves represent a broken heart, and if so, is it Rupert Davies' heart that is broken, or the people who are the topics of his third album, There's Always Someone Mad At You? Considering the tone of this album, a bit more barebone than previous efforts, it may be a bit of both. Even with three albums, four EP's, and 6 split 7" singles behind him, he has shown the kind of growth that in the past was reserved for artists with a bigger spotlight. With the industry changing these days at a rapid pace, that spotlight has been diverted, allowing someone like Davies to have a chance and be heard.
Those who appreciate what Ray LaMontagne has done in recent years will find many reasons to enjoy There's Always Someone Mad At You, as it has the feel of a very open, very wide album, in the sense that he's exposing himself for all to hear. To me it allows the listener to put themselves in the music, something that's much more than a casual tap of the feet or pen in the work cubicle. In "100% Real" he goes for the throat even if all you hear is an acoustic guitar, a metronome, and his voice. The deliberate spacing in his phrasing only helps to enhance the lyrics at hand:
Even though you couldn't deal I'm the one who is exposed to one hundred percent real I can't take back the pain you feel And I don't have the time to wallow and kneel
Davies' attempt at an acoustic guitar solo run through a wah-wah guitar pedal doesn't seem right at first, but throughout the album his use of unusual sounds in unpredictable ways helps drive the point home: he's a man who is in deep pain and the music is him contemplating suicide. The songs are almost as if he's looking at his personal diary, thinking back on and good and bad times in his life before he contemplates something he doesn't want to do. It's the threat of the weapon that make songs like "Rubber Wilt", "Two Way Street (One Way Life)", and his cover of "Wichita Lineman" (in a sparse arrangement that uses a cello, kalimba, and a Casio SK-1) so demanding, as the listener gets caught up knowing where he is on the album, and how close he is to the end.
The album closes with the haunting "11:59pm Sharp", which begins with the sound of traffic outside of a window. The effect of his vocal and guitar makes it sound like he's in a closet or box, and the reason for that is unknown until he reveals the meaning of the album title in verse three:
No way I can make it through There's always someone mad at you No matter how you smile and lie There's always room to frown and die Obey the rules you didn't make Hard to be real in a world that's fake I hold what's left of my little mind I don't care what I leave behind
Davies continues with something that comes off like a cross between a lullaby and one's last words, and the album's last minute is something that gives this album the appropriate "masterpiece" status that it deserves now and will deserve twenty years from now. Each project he does is completely different from the other, and it's the type of recording that could easily inspire answer recordings, if someone wishes to continue the dialogue expressed in these 12 songs.
Comments
amazing.
absolutely amazing.
Sayin'. This is the best thread in weeks. I wish I had the time and means to make some.
And I agree, some album info for some of these would be cool. Although it's kinda cool to just have the covers and let the viewer imagine what it sounds like.
Vampire Hipsters.
Saying. I love this thread. And most of you guys could totally get a graphic designer job for, say, Vampisoul or yer average underground rap or indie rock label
I wish I could contribute, but my photochop game is weak. Maybe I'll try anyway.
Bj??rn Bergmann Sigurdarson:In Any Form, Something Happens Vertigo cat. #6360 016-D
dude. i'd buy it.
Aaah.
That is too much like this:
That's what I was going for, the major label knock-off.
Rupert Davies
There's Always Someone Mad At You
(self-released)
RATING: * * * * * (out of 5)[/b]
Do the leaves represent a broken heart, and if so, is it Rupert Davies' heart that is broken, or the people who are the topics of his third album, There's Always Someone Mad At You? Considering the tone of this album, a bit more barebone than previous efforts, it may be a bit of both. Even with three albums, four EP's, and 6 split 7" singles behind him, he has shown the kind of growth that in the past was reserved for artists with a bigger spotlight. With the industry changing these days at a rapid pace, that spotlight has been diverted, allowing someone like Davies to have a chance and be heard.
Those who appreciate what Ray LaMontagne has done in recent years will find many reasons to enjoy There's Always Someone Mad At You, as it has the feel of a very open, very wide album, in the sense that he's exposing himself for all to hear. To me it allows the listener to put themselves in the music, something that's much more than a casual tap of the feet or pen in the work cubicle. In "100% Real" he goes for the throat even if all you hear is an acoustic guitar, a metronome, and his voice. The deliberate spacing in his phrasing only helps to enhance the lyrics at hand:
Even though you couldn't deal
I'm the one who is exposed to one hundred percent real
I can't take back the pain you feel
And I don't have the time to wallow and kneel
Davies' attempt at an acoustic guitar solo run through a wah-wah guitar pedal doesn't seem right at first, but throughout the album his use of unusual sounds in unpredictable ways helps drive the point home: he's a man who is in deep pain and the music is him contemplating suicide. The songs are almost as if he's looking at his personal diary, thinking back on and good and bad times in his life before he contemplates something he doesn't want to do. It's the threat of the weapon that make songs like "Rubber Wilt", "Two Way Street (One Way Life)", and his cover of "Wichita Lineman" (in a sparse arrangement that uses a cello, kalimba, and a Casio SK-1) so demanding, as the listener gets caught up knowing where he is on the album, and how close he is to the end.
The album closes with the haunting "11:59pm Sharp", which begins with the sound of traffic outside of a window. The effect of his vocal and guitar makes it sound like he's in a closet or box, and the reason for that is unknown until he reveals the meaning of the album title in verse three:
No way I can make it through
There's always someone mad at you
No matter how you smile and lie
There's always room to frown and die
Obey the rules you didn't make
Hard to be real in a world that's fake
I hold what's left of my little mind
I don't care what I leave behind
Davies continues with something that comes off like a cross between a lullaby and one's last words, and the album's last minute is something that gives this album the appropriate "masterpiece" status that it deserves now and will deserve twenty years from now. Each project he does is completely different from the other, and it's the type of recording that could easily inspire answer recordings, if someone wishes to continue the dialogue expressed in these 12 songs.
I saw this at Oktoberfest in Leavenworth at the store that sells Curry Ketchup
btw..I dig the Impulse and ECM records..
I might just do...
Damn, you might have just shut the game down right here. The ring wear is next level.
ahem...I had ringwear on mine...ahem...and a review, somebody else write a review of their album, its fun!
Yes, you had both those things. My apologies. Your review was next level as well.
Age's cover really jumped out at me because I really like that style of graphic design.
this looks like it could've been the next Nas album cover.