Cordavision Music Reviews

*an obvious joke* This is a case where I was simply pulled into the album because of some good cover art, you know? I don’t know that much about Yeule, but what I do know is that Yeule is from Singapore and the stage name of Yeule is based on the Final Fantasy character. That’s pretty much if for that, and as I stated earlier, I mainly wanted to listen to Glitch Princess because I just think the cover’s sick as fuck. So, let’s just get into it. Like it says in the name, the production throughout this album is very glitchy. There’s honestly no way around saying that because it’s simply true. It’s also not often that a gorgeous voice can mesh so well with that kind of production, but it somehow does beautifully. Personally, the one thing that didn’t stick out to me too well was the writing, but since I’ve heard others praise the writing so much, that could change for me at some point since I’ve been listening to this on repeat for a little bit now. Also, as a fun treat for the digital ...

I mean, if you name your album W, that’s just peak confidence. If you don’t know about the Japanese rock scene, that’s totally okay. Even if they aren’t the most popular group, Boris is one of the huge pillars in modern Japanese music. They’ve been active since 1993 and have had a steady output since then. Their 2005 album, PINK , is widely considered to be one of the best noise-rock albums ever. The first part of this album was released back in 2020, titled NO . With the group’s new album being titled only W , I think I’m sensing a theme here. Anyways, let’s get into it. What’s most striking about this album is that this is a slight shift away from the group’s typical sound. Instead of the stoner metal that they perform so well, W has more of a shoegaze and even a dream pop sound. Because of this shift, it makes this album one of Boris’s least heavy albums yet, maybe even the least heavy music they’ve made so far. There may be some disappointment in that, but there’s still some heavi...

God, the cover’s so dark. I love it. There’s a first time for everything and this marks the first for something. This will be the first live album I cover on the site, and I’m quite excited that this is the one. The Gothenburg-born musician Anna von Hausswolff has been an artist that’s been climbing onto my radar more and more as I dive into the neoclassical darkwave genre. Hausswolff’s fantastic Dead Magic is one of the first I’ve heard in the genre and the follow-up All Thoughts Fly is just as great. Now, her latest release is a 2018 live performance that has been hyped up a lot for the past few years. It’s finally available to the public, so let’s get into Live at Montreux Jazz Festival . You know, I’m one of the people that enjoy a live version of a song, but I do prefer studio versions of tracks more often. This album, though? I think these songs are the definitive recordings of each one. There’s really nothing bad about this. Hausswolff’s vocals are incredible, the instruments ...

I cannot express enough how terrifying this woman is to me. For those that don’t know, that is a positive. Kristin Hayter, known professionally as Lingua Ignota, is someone I’ve had trouble explaining why she’s one of my favorite artists. It’s not every day that your parents ask you what you’re listening to and you answer with “DO YOU DOUBT ME TRAITOR” or All Bitches Die , the name of her breakout album. Hell, I actually credit her for why I decided I wanted to write about music like this. Her last album, the mind-blowing and all-too-real CALIGULA , is a devastating look into abuse and misogyny. In her own words, she stated that CALIGULA takes the listener “through a cycle of abuse," along with looking at "abusive power, madness, depravity, narcissism” that are prevalent in politics and communities alike. I could write a college paper on how visceral CALIGULA is just from Hayter’s lyrics alone, but now, we look to the future. Her newest release, Sinner Get Ready , is here an...

Everything about this makes me genuinely uncomfortable in the best ways possible. I like creepy music. Like, something that genuinely gets your skin to crawl. Chinese-German artist Pan Daijing has been working in that lane since 2015, and it’s quite frankly some of the most skin-crawling stuff I’ve heard in a while. Four years after her harrowing album Lack 惊蛰 , she’s back with some new creepy shit, Jade 玉观音 . To enhance the experience, I ended up listening to this at 1 am so I could get the whole experience of whatever the hell this was gonna be. Let’s get into Jade 玉观音 and see how it went. I’m gonna start off with a quote from Daijing herself that I think describes this album quite well: ‘Solitude is like an immense lake you’re swimming through… Sometimes you dip your head in and sometimes you lift it up.’ Jade 玉观音 is one of the most terrifying experiences I’ve had listening to music in a while mainly because I was alone while doing so. A highlight on this was on “Dictee 三月,” where...

An unborn child dropped before Frank Ocean. Let that sink in. If I hadn’t heard about this on Twitter, I would’ve never searched for this. This is gonna be a shorter review mainly because the concept of the album is much more interesting than the album itself. When this album was recorded, Luca Yupanqui wasn’t born yet. Her parents, Elizabeth Hart and Iván Diaz Mathé, had decided to make up a massive experiment. They recorded Luca’s in utero movements were translated to sound using biosonic MIDI technology. The result of five one-hour sessions is Sounds of the Unborn , an ambient album that is unlike anything I’ve heard. Is that a good thing or a bad thing, though? We’re about to find out. Dude, this baby is talented. Imagine what she can do once she’s fully grown. I’m just messing with you, but really, this is some harrowing stuff. Like, this is a DARK album. There are some legitimately disturbing sounds on here that I don’t ever wanna sit through again, but kind of in a good way? I a...

Don’t laugh at pee. Don’t laugh at pee. Don’t laugh at pee. This is new territory for me. I’ve never reviewed a post-rock album before, let alone a field recording album. I have listened to them before, though, and most of them have just come and gone for me. Not this band, though. Godspeed You! Black Emperor has been a band that have consistently put out some of the most harrowing music I’ve heard in my life since the late 90s, with some of their early works being some of the most beloved post-rock albums ever. After a four-year break, we have G_d's Pee AT STATE'S END! , another addition to arguably one of the best discographies in all of music. Let’s not waste any more time on the intro and get into the music. Even though it clocks in at 53 minutes, this feels like an absolute epic. I liken it to the hellish year of 2020. It starts out hopeful with “Military Alphabet” and slowly becomes more defeated when it hits “Fire at Static Valley,” almost like the start of the coronavir...