BEST ALBUMS YOU'VE NEVER HEARD: "Bottomless Pit" by Death Grips

If you're even a little bit clued into Death Grips you'll know the level of memery that the name implies these days. In fact it's gotten to the stage that the name Death Grips is almost synonymous with musical pretentiousness or the kind of intentional and exclusively experimental appreciation of art and music that comes across as elitist or just plain annoying. And don't worry, I get it. But Bottomless Pit is legitimately great. I've listened to the band's entire discography a number of times through, and while popular opinion would imply that The Money Store is the greatest of their albums I would argue that Bottomless Pit is their magnum opus thus far.
I've chosen this record as one of my favourite albums you've probably never heard despite the fact that Death Grips are in fact relatively popular - or at the very least infamous - amongst music circles because Death Grips' music is so abrasive and impenetrable that most simply move on without diving in to the rabbit hole and coming out the other side. The trio have a very particular sound that somewhat paradoxically changes and evolves with every release, and that's what makes Death Grips so exciting to listen to from album to album - you never quite know just what you're going to get. Bottomless Pit for me is the perfect amalgamation of the poppier, more accessible sound of The Money Store (understandably widely seen as the best Death Grips album) and the glitchier, darker, more impenetrable sound of albums like No Love Deep Web and the first half of The Powers That B. This is why if you have never heard Death Grips and want to know what all the memery and fuss is about I would recommend Bottomless Pit to you. That and it'll curb-stomp you, take your mum out to dinner and then never call her again.

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A Response To 'Christian' Views On Secular Music

Is there such thing as music that Christians shouldn’t listen to? Should we be dismissive of music with either explicit language or sexual, violent or substance oriented themes? Should anyone even be telling anyone else what they can and can’t listen to? These are questions that are thrown around a lot in Christian circles, and given what I do here on this blog and how that overlaps with my job working for the church, I thought I would share my thoughts on this topic. I’ll say this at the outset so that we’re on the same page – I think any attempt to dictate what people should and shouldn’t listen to is stupid and disrespectful on a fundamental level. I’ll go into detail about why I think that later on, but for now here are some thoughts I have on some of the “Christian” opinions I come across pretty regularly. The first and most ludicrous thing that seems to follow me around is the idea that because I listen to underground genres, particularly on the heavy metal

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I've never really enjoyed what Motionless In White do, because they've been wedged between industrial beats, gothic murkiness and generic breakdown-laden metalcore for so long without really nailing any of those sides of their sound. Listening to their music was really jarring and I've never really cared all that much for any of their records. Graveyard Shift was a real surprise for me, then, being a perfect concoction of the two worlds they have been trying to bring together on their previous efforts. It's like Marilyn Manson, Nine Inch Nails and Korn had an illegitimate child, born with eyeliner and leather (the Jonathan Davis feature on Necessary Evil is a knowing nod to this influence). There is a surprising energy and cohesiveness to these songs, and it is by far the best album from them so far; so much so I had to double check I was indeed listening to Motionless In White on Spotify. Everything the band have offered to this point are here, but refined and tweak

1 YEAR LATER: "22, A Million" by Bon Iver

Bon Iver's third studio album turns 1 in about a week (where did that year go?), so I thought it would be interesting to talk a bit about how my impressions of the album have changed - or how they haven't - over the last 12 months. When this album was released I was more excited than I think I ever have been to hear a new album. For Emma, Forever Ago is one of my all time favourites, and I love his self-titled second album too, so I had huge expectations for this album, but was also wary that expectations might ruin my experience of the music. This was particularly the case for 22, A Million , because it is unlike anything else Justin Vernon has released. There have been hints at this more processed, electronic direction previously, like the song "Woods" on the Blood Bank EP and occasional flourishes on Bon Iver , but 22, A Million is a drastic departure from the Bon Iver sound we had grown accustomed to at this point in time. Or at least, that's what I thought

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