Monday, 23 March 2015
Urban Dictionary's Best Sex Positions
Check it Cosmopolitan. Big reps to the fam on this one. If your sex life with the SO is lacking, take a stroll down Urban Dictionary's museum of the mind. Sure to spice up your bedroom lifestyles, here's my favorite picks. Disclaimer should warn that I don't intend on being held accountable for mishaps. I've tried them all, ask my mates. Serious shit here son.
1: The Flying Camel
When the male is upon the female eloping or simply engaging in riveting conversation, the male must carefully advance forwards and prop himself (without the use of his arms) upon his penis, while still inside. He then must proceed to flap his arms and let out a long shrieking howl much like, as the name suggests, a flying camel. The female at this point should be feeling like an unkempt farmers daughter as if she's never been submitted to such pleasures. UD defines this "strictly a class move." Take it from the best.
2: The Purple Mushroom
Soaring elegantly and gentlemanly forward into new terrain, the purple mushroom is a classic. Less sex, more impress, take a step back from your manly ways and observe your lady. Is she pleased? Is she relaxed? Is she enjoying herself to the maximum? If no to some, none, or some of none of the above, then we've got a problem. To instigate the purple mushroom, leap like a salmon off your SO, and pin her to the ground/bed/whatever. Grab your Vietnamese-Sausage like it's the axe of Thor, and draw back as far as it will stretch. You will think you see fear in her eyes; this is merely a muse. Whip your dick across her face as hard as humanly possible. This should leave a mark that turns purple and looks like a mushroom.
3: Te'oing
For the more lonely of peers, this one's for you. I haven't forgotten you. When sex simply is out of the question, one must invent other ways to stimulate oneself. The grimace as you wake up alone in the morning becomes too much. The embrace of a pillow is no substitute. How and ever, you can avoid this with the simple action of Te'oing. This is delicately defined as having sex with an imaginary woman or object. It does not discriminate.
4: The Charizard
The infamous Charizard. We all know where this came from, yet were too blind in childhood innocence to embrace it. It was right in front of us, but we could not explain. Existential in origins, it takes a true monk of the arts to engage this properly. Forming coagulated thoughts holding this process is all but revolutionary. Make sure the lady has a finely toned pubic afro; it is essential for execution. Just as you climax, light her pubes on fire. Your juices should extinguish half of the burning hair, and while she's flapping her arms around wildly, you scream, "YOU DON'T HAVE ENOUGH BADGES TO TRAIN ME!", then run out of the room. 110% guaranteed to spice up the bedroom.
5: The Donkey Pummel
A variation of the renowned time-honored Donkey Punch, it is twice as violent and a gazillion times more sexual. Not for the faint, you need balls of steel and a lady-part of equally sturdy metal. During intercourse between two peoples, you donkey punch the lady when inserting into her ass cavity, and when she is still conscious come back with a left-right jab to ensure she's knocked out.
6: The Purple Mongoose
My all time favourite, the top of the lot, the best for last. This move is something not even a WWE star would attempt, in all their training. It depicts years and years, generations upon generations, stars aligning, everything in existence coming together. No more need be said. When enjoying sex and you think you need to take it to the next level, initiate. The madam puts her legs behind her head, and the man moves to position. The lady, holding strong, must wait while the man climbs a ladder, pours Tobasco sauce all over her ass, and makes a dive penis-first into her butt. Once inserted, the man spins around like a helicopter. Perfection.
Try it.
Saturday, 21 March 2015
The Wonders of Johnny Hobo
The lyricist without a clue; the freight-trainer; the
all-out anarchist. I don’t know much about him personally, but fuck it. His
music testifies that he’s a character. The lyrics show that you can’t have
wrong words for a song, while simultaneously being so deep and meaningful that
I might just tear up. Smoking, drinking, acid, freight-trains and guitar are
his best friends, with his lyrics truly conveying it. Favourite tracks have got
to be, in no particular order:
Whiskey Is My Kind of Lullaby
Probably my favourite track, if not my favourite song ever.
The lyrics are genius, in Hobo’s satirical comedic manner. Rather than a jolly
shindig, it’s a statement of depression, and word around is he won’t play these
songs due to the sad memories they dig up. There’s two versions of the song,
and although the one here features the absence of the brass section, I do
prefer it. The raw energy he conveys with the guitar and characteristic
screaming really comes through.
DIY Orgasms
Consisting of some of the best lyrics one might ever here,
again with his iconic shouting/singing, it shows a painting of a stupid society
he’s watching. In the parking lot with a forty ounce and watching people, it’s
a depression picture. Gotta love “I’m contemplating rope but can’t tie knots
that great”, I always have a dark laugh at that line. A strange look at the
world, only Hobo could convey such a theme with such a comedic depression.
DIY Gangsta (T.R.E.A.M.)
A faster one than usual, from the Wingnut Dishwashers Union
days, it’s a bit more uplifting than one may be used to. I was surprised first
time I heard it when it kicks into Hobo’s rendition of CREAM by Wu-Tang,
fittingly remade into “Trash rules everything around me, TREAM coz I’m hungry,
gotta gotta eat y’all”. Again, the light-hearted grim reality he lives is
portrayed in only a way he himself can achieve. It’s catchy, and that voice
just infects. Another take on society and her bleak atmosphere, it’s easy to
appreciate Hobo’s ability as a lyricist.
Ain’t Nobody’s Business
This one always reminds me of Metallica’s rendition of
Tuesday’s Gone by Skynyrd. The free flow of words and music swirl around with
each member having a little bit of a verse to themselves, be it a line or two,
and it sounds like one big jam session. Quite nice to hear it, as you do get
fed up with rigidity. The fact that it sounds like it’s recorded through a
single floor microphone adds to the atmosphere. The others can’t sing that
great though but fuck it, that’s what it’s about.
New Mexico
Another classic about roaming around life unwanted, and
rejection of the state. The grim, bleak, downer that is Johnny Hobo shines through
with a grey light on this track. Spitting out his lyrics, there’s fuck-ups here
and there that will have you falling in love with his singing. Getting too
drunk and smoking too much, he’s headed for an early grave and can’t wait for
it. Friends are gone and time is short. There’s no place like home, especially
when there’s no home. His lifestyle has even penetrated his dreams, where he’s
“beautiful, dirty broke and free.” Gotta love him.
If you like it, check Cranford Nix and Mischief Brew. Likeminded
revolutionaries.
Pigeon life
I’ve seen enough and thought enough that I reckon I’ve a few
decent ideas as to why a pigeon is funky.
Diseases hate you
Why fear disease when you yourself are inhabited by
everything nature can throw at you? Thems diseases run like the fuckin’
clappers when they encounter you. You walk around with half a dick hanging off
you still getting pussy like it’s the 70s. Your feet are mangled from getting
string wrapped around them, but that shit ain’t infected. You still getting
pussy and fucking up other pigeons coz you rule the tribe. Be glad that you
have every infection known; they’re battling each other for dominance rather
than your immune system.
Pussy
What do pigeons do? They breed. With who? With each
other. You’re a walking, chirping pussy
magnet. Be thankful, we don’t all sport this same identity. I heard a tale
where the pigeon problem in France (I believe Paris) got so bad that half the
pigeon population was brutally pillaged, murdered and executed, but the remaining
half cared not a fuck in the world. More food meant more babies and sex. BAM.
Problem came back sooner than spunk could harden.
Eat. Fuck. Die.
Who wouldn’t love to eat all the food you can, have a load
of sex, then die happily knowing your legacy will live on?
Numbers
These very avian heroes are testament to the fact that they
really can’t kill us all.
Tax
The pigeon is an expert on avoiding taxes. Cunt.
Time
She drifts in the air without a care. She chirps and frolics
without any bollix. I’m a mad lyricist m8. The animals in the meadows and the
birds in the trees care not for time. They don’t have the capacity to
understand it exists. It’s the very bane of human existence. Why were you late?
Where have you been? You were meant to be here. When will it be ready? The list
is fucking endless. It worries us. Creeps into our consciousness. We’ve made
devices that possess the sole purpose of fucking with us. Time is the reason we
get down in life. Not the only reason, but a contributor. We’re running out of
time. We’ve too much time. I’m so mashed time is going backwards. It’s all
infinite. The pigeon knows not of time, and she is happy. She’s happy in her
world; out of ours.
Lee Scott's upcoming album - A Few Words
Known for his enthusiastic views on Thai monks and his milk-curdling personality, Lee Scott is, in a word, a decent guy. It came as no surprise when he arrived home from a three month stint in Shanghai training with the monks there that a new album was well underway. Grabbing a sneak peak when I shouldn't have been at this fictional release, fans are going to be surprised, charmed, and probably aroused.
Releasing a fictional statement through various social media platforms, Scott himself told how the album was to be named Sacred Hybrid Sea Lion. Featuring an image, unavailable at the moment, of the iconic emblem of Scott's musical career, the sea lion endowed with a halo of light and a robe of shining silk, it's at the forefront of expression for the rap icon.
Only hearing a few tracks made for a short listening, but I'll run through to give a decent idea of what to expect. Expect the expected; it's a sonic masterpiece, a musical gem, a soulful melody of classics, the best thing since basically ever.
The first track bestowed upon me was the wonderful Thai Life. Or thigh. A heavy hitter fitted with the fattest beats imaginable, the lyrics spew forth from the page through the speakers to your head-holes and infest and breed there, making it easily a top 200 hit. Encapsulating the recent expeditions to the far East, Scott has got to be the most vivid lyricist of the era. With (a rumoured) 90 Asian elephants performing in the make-shift studio he brought with him, the chime section is a whimsical journey of a breakdown.
Coursing straight into the equally erupting Bacon and Jam, the themes and ideas encroach towards the more characteristic existential lyrics on the album. An intrinsically enthusiastic satire on the modern world and all of her corruptions, societal expressionism is in its finest moments here. The rawest lyrics on the album by miles, you can feel the saliva on your face from the ferocious spitting that advances forth.
I missed a few tracks at this point coz I had to take a leak.
Back just in time for a less intense release, Flurbejerb is for the more light-headed of fans. A series of gibberish and babbling layered over bongos and elephant noises, I think this is where the oriental acid kicked in. Easily one for the charts, you can anticipate hearing this at any house party worth respecting in the near future. Pretty sure there's a big budget video in the works as this is typed for this very track. Noticeable in the background is the soft jingle from the bells attached to Scott's robes, giving a very natural and organic feel. You can hear him hopping around in his gibberized state, enchanting the listener with each indistinguishable syllable.
The title track followed this; Sacred Hybrid Sea Lion. Fantastic, enormous, tremendous, immense, enormous... the list goes on. Words cannot do this justice. Lee Scott, by his very nature as is easy to see, became the most important figurehead in the newest movement in music since someone invented a guitar or something. Featuring the heaviest themes explored, the deepest meanings portrayed, and the most significant lyrics of his career, this track is sure to entice and probably arouse the listener. Consisting of five minutes and thirteen seconds of a 25Hz sine wave, this track is genius incarnate.
It was at this point I was kicked out for eating all the egg sandwiches from the buffet, but it is easy to see from these few tracks how important this album will be when it's released. I'm on the edge of my seat; I'm sure you are too. No dates, however, have been released for the moment, but we shall wait together. Already with a deep cult following, the album is going to take the world by storm, and leave a trail of destruction and semi-erections in its wake.
Stay lovely.
LinkS:
http://leescott.bandcamp.com/
https://blahrecords.bandcamp.com/album/b-movie-millionaires-ep
Pic for reference
Releasing a fictional statement through various social media platforms, Scott himself told how the album was to be named Sacred Hybrid Sea Lion. Featuring an image, unavailable at the moment, of the iconic emblem of Scott's musical career, the sea lion endowed with a halo of light and a robe of shining silk, it's at the forefront of expression for the rap icon.
Only hearing a few tracks made for a short listening, but I'll run through to give a decent idea of what to expect. Expect the expected; it's a sonic masterpiece, a musical gem, a soulful melody of classics, the best thing since basically ever.
The first track bestowed upon me was the wonderful Thai Life. Or thigh. A heavy hitter fitted with the fattest beats imaginable, the lyrics spew forth from the page through the speakers to your head-holes and infest and breed there, making it easily a top 200 hit. Encapsulating the recent expeditions to the far East, Scott has got to be the most vivid lyricist of the era. With (a rumoured) 90 Asian elephants performing in the make-shift studio he brought with him, the chime section is a whimsical journey of a breakdown.
Coursing straight into the equally erupting Bacon and Jam, the themes and ideas encroach towards the more characteristic existential lyrics on the album. An intrinsically enthusiastic satire on the modern world and all of her corruptions, societal expressionism is in its finest moments here. The rawest lyrics on the album by miles, you can feel the saliva on your face from the ferocious spitting that advances forth.
I missed a few tracks at this point coz I had to take a leak.
Serial killa
Back just in time for a less intense release, Flurbejerb is for the more light-headed of fans. A series of gibberish and babbling layered over bongos and elephant noises, I think this is where the oriental acid kicked in. Easily one for the charts, you can anticipate hearing this at any house party worth respecting in the near future. Pretty sure there's a big budget video in the works as this is typed for this very track. Noticeable in the background is the soft jingle from the bells attached to Scott's robes, giving a very natural and organic feel. You can hear him hopping around in his gibberized state, enchanting the listener with each indistinguishable syllable.
The title track followed this; Sacred Hybrid Sea Lion. Fantastic, enormous, tremendous, immense, enormous... the list goes on. Words cannot do this justice. Lee Scott, by his very nature as is easy to see, became the most important figurehead in the newest movement in music since someone invented a guitar or something. Featuring the heaviest themes explored, the deepest meanings portrayed, and the most significant lyrics of his career, this track is sure to entice and probably arouse the listener. Consisting of five minutes and thirteen seconds of a 25Hz sine wave, this track is genius incarnate.
It was at this point I was kicked out for eating all the egg sandwiches from the buffet, but it is easy to see from these few tracks how important this album will be when it's released. I'm on the edge of my seat; I'm sure you are too. No dates, however, have been released for the moment, but we shall wait together. Already with a deep cult following, the album is going to take the world by storm, and leave a trail of destruction and semi-erections in its wake.
Stay lovely.
LinkS:
http://leescott.bandcamp.com/
https://blahrecords.bandcamp.com/album/b-movie-millionaires-ep
Friday, 20 March 2015
Alison Wonderland - Run - A Few Words
I did not expect this. Holy fuck, did I not. Mother of Jesus on ice-skates, I did not. A seriously sick release. Words can't do Alison justice on this one.
Easy on the eye, with an image to match; an accent to drool over; she's the perfect candidate in every and any sense. This release came out of nowhere and in the couple of days it's been on this earth it has left a trail of confusion and bloodfucking in its wake. What more can be said?
An album release party with a lady performing in front of other ladies can only mean EPIC. Not afraid to (have other ladies) get naked in front of people, it looked like one helluva party. Looking totally in place and completely in control, it shows a lot for the young artist with only her debut album sounding this incredible. Trailing behind Kendrick Lamar as of earlier today, it should probably be number one. I won't argue, I'm not about that. I'll just say that; leave it there to mellow out.
The diversity on the album is incredible. About halfway through, the album goes from the calm, laid-back atmosphere into testicle-sterilizing ferocious animosity. The only dampener I have with the album is the fact that I can't decide if the vocals are lacking, or that they're the greatest thing to ever happen. I'm thinking the latter. Each song fits perfectly, and the album consists of a perfectly steady pace throughout, pumping out classic after classic track. The whole feature deals out radio tracks with that underground edge. No one could do it better.
Speaking of le album, it opens promisingly with the title track, Run. Phazing in with huge space, the heavy beat and synths sit perfect underneath Alison's vocals. Showcasing immediate production excellence, the clarity is tremendous. Not sure where that strange wee-yew sample came out of, but hey. The build up is just enough to drop into the chorus, giving off a sweet flow. It sounds more like a festival song compared to what you'd expect at clubs, but much love.
The McLovin banger, U Don't Know, keeps the spacey atmosphere with strange clicky-claps, and the catchy intro and lyrics are sure to invade your head-space, ensuring its place among any top ten. Steady driving beat, heavy build-ups, scrappy drops; none of this was expected by eye. Sounds magnificent; the perfect combination of catchy and heavy. This quality heaviness is noticeable on the bass. Prepare your manhood, it'll rob you of it. It showcases Wonderland's individualism, and - as always - variance is key.
Slamming into Take It To Reality, again I can't say it was expected. Fuck me. One of the top tracks from the album, for sure. The ambient intro is splendid, but the beat is just marvelous, with a really sick flow to it. The vocals only complement it, coupled with the incredible production. Eyebrows were raised at the change into the synthey part. Full of surprises. The readjustment into the flowing beat is real satisfying. Breakdown strings? Check.
Naked brings in the heavy drums, gearing away from the ambiance of previous tracks. The individuality never changes though. Those heavy drums, man. Fuck me. Running. Varying it up a little bit, the trappy snare gives off a bit of ambiance, which somehow works perfectly with the percussive audio-abuse. Suddenly, a wild DnB drum pattern appears. What the fuck is this drop. Holy shit. I was nodding, then in comes the drop. Pure silence. That moment hangs longer than a 70 year old's balls. Fuck. Then slam; drop. Sick bruv. This shows Lady Alison's production skills tremendously. That DnB is sick though, would love to hear more of it. Second drop: what the fuck, again.
At this point it is dead fair to say that this is the most surprising release since the coming of wheel. Carry On, with its soft "ding", gunshot drumming and old heavy organ, you can see the album veering towards yoke-head mental. Play it fucking loud. The drums are coupled by that characteristically maltreating heavy bass; Jesus Christ dat bass. One might consider the vocals a little forward in the mix, but fuck it. Her voice adds a nice feature. Production, again, is brilliance incarnate.
Heading East, I Want U has a strange introduction reminiscent of oriental tidings. Adds a nice feature, one would think. One would be right. Tube of the You tells me whisperings that this was released a whopping ten months ago; quite a significant amount of time. Bass and vocals are on point, and that build up just brings forth an audible "Oh fuck", then the drop just fists you in the testes. It's basic, yet effective. She's a true master of production. There's so much going on, yet it's all placed perfectly; nothing sounds out. One can easily feel the power in that distorted bass. Each drop is better than the last.
Games is another elite track on the album. Featuring a peaceful yet strange start, the vocals are so clean you could hang your sins on them. Melodic, bordering DnB, there's a really sick groove going on. In comes the synth; the vocals are perfection. The gentle build-ups and soft drops give the impression of the track ebbing and flowing at its ease.
Coachella is going to be lucky to be graced with her majesty's presence. One More Hit has quite a different intro; I'm not entirely sure what's going on there. Reminds me of Tokyo Drift, haha. Initiate sterilizing bass. Wonderland's percussion is real cool, real nice.
Ignore is almost a change in dimension. Only the heaviest of vocals for the intro, and some strange effect happenings, the groove drifts menacingly on top of that heavy beat. Fuck. It's driving, distorted, perfect; words don't justify. What stood out was the fact that the reverb sounds perfectly calibrated to the track, a point not many others can boast. Heavy flow; another one for the yip-heads.
Back It Up brings forth the diversity she does like to show off. The vocals are unusually approached, but come off incredibly fitting. The rhythm of the drums, driving steadily, reminds me of jungly music. They keep the rhythm; steady and industrial, sheer incredulous. Hard, industrial, heavy, distorted, fuck, steel, iron, invading; this track just has it all. Only qualm is that it ends.
Cold would be back in familiar territory, having a video of its own released around six months ago. Big, large, massif bass and drum intro, with softly contrasting vocals make for a sick flow. Centered around the snare, there's a lot going on. Percussion is next level, the vocals are just lovely, the hats bring it forward in a perfect manner. Ambient synths gear up to the perfect gunshot-esque drop. Fuck. An all rounder. Massif beat.
The last track, a much-too-early ending, Already Gone takes a step back to leave you on a gentle note. The Beethoven intro is simply magical, along with the piano. Shows a certain someones abilities. Diversity and variance, boi. The organ gives it a relaxed atmosphere, and the drop keeps in this same space. It's a strange one; lacking drums but oddly prevailing. The normally violating heavy bass is atmospheric and chilled in the background. Taking a leap in every direction, the wah-synth sounds dubby. The outtro is perfect, albeit a bit too soon if you ask me. The album needs at least another ten tracks, then I'll be satisfied. Well, probably not.
I can't say I've enjoyed an album so much in a long time. I did not expect to hear something like this at all. Mucho Lovo, madam. Fucking hell, the album's a beauty. I think I'm in love. The album is currently available on iTunes. It's worth every cent, penny, whatever. Fuck.
Averagity rating: Mucho Above Average. Mucho Lovo.
Links:
Website: http://alisonwonderland.com.au
Facebook: https://facebook.com/awonderdj
Twitter: https://twitter.com/awonderdj
Instagram: http://instagram.com/alisonwonderland
Soundcloud: https://soundcloud.com/alisonwonderland
Spotify: http://spoti.fi/1mPwOd2
Easy on the eye, with an image to match; an accent to drool over; she's the perfect candidate in every and any sense. This release came out of nowhere and in the couple of days it's been on this earth it has left a trail of confusion and bloodfucking in its wake. What more can be said?
An album release party with a lady performing in front of other ladies can only mean EPIC. Not afraid to (have other ladies) get naked in front of people, it looked like one helluva party. Looking totally in place and completely in control, it shows a lot for the young artist with only her debut album sounding this incredible. Trailing behind Kendrick Lamar as of earlier today, it should probably be number one. I won't argue, I'm not about that. I'll just say that; leave it there to mellow out.
The diversity on the album is incredible. About halfway through, the album goes from the calm, laid-back atmosphere into testicle-sterilizing ferocious animosity. The only dampener I have with the album is the fact that I can't decide if the vocals are lacking, or that they're the greatest thing to ever happen. I'm thinking the latter. Each song fits perfectly, and the album consists of a perfectly steady pace throughout, pumping out classic after classic track. The whole feature deals out radio tracks with that underground edge. No one could do it better.
Speaking of le album, it opens promisingly with the title track, Run. Phazing in with huge space, the heavy beat and synths sit perfect underneath Alison's vocals. Showcasing immediate production excellence, the clarity is tremendous. Not sure where that strange wee-yew sample came out of, but hey. The build up is just enough to drop into the chorus, giving off a sweet flow. It sounds more like a festival song compared to what you'd expect at clubs, but much love.
The McLovin banger, U Don't Know, keeps the spacey atmosphere with strange clicky-claps, and the catchy intro and lyrics are sure to invade your head-space, ensuring its place among any top ten. Steady driving beat, heavy build-ups, scrappy drops; none of this was expected by eye. Sounds magnificent; the perfect combination of catchy and heavy. This quality heaviness is noticeable on the bass. Prepare your manhood, it'll rob you of it. It showcases Wonderland's individualism, and - as always - variance is key.
Slamming into Take It To Reality, again I can't say it was expected. Fuck me. One of the top tracks from the album, for sure. The ambient intro is splendid, but the beat is just marvelous, with a really sick flow to it. The vocals only complement it, coupled with the incredible production. Eyebrows were raised at the change into the synthey part. Full of surprises. The readjustment into the flowing beat is real satisfying. Breakdown strings? Check.
Taken from herself's facebook.
Naked brings in the heavy drums, gearing away from the ambiance of previous tracks. The individuality never changes though. Those heavy drums, man. Fuck me. Running. Varying it up a little bit, the trappy snare gives off a bit of ambiance, which somehow works perfectly with the percussive audio-abuse. Suddenly, a wild DnB drum pattern appears. What the fuck is this drop. Holy shit. I was nodding, then in comes the drop. Pure silence. That moment hangs longer than a 70 year old's balls. Fuck. Then slam; drop. Sick bruv. This shows Lady Alison's production skills tremendously. That DnB is sick though, would love to hear more of it. Second drop: what the fuck, again.
At this point it is dead fair to say that this is the most surprising release since the coming of wheel. Carry On, with its soft "ding", gunshot drumming and old heavy organ, you can see the album veering towards yoke-head mental. Play it fucking loud. The drums are coupled by that characteristically maltreating heavy bass; Jesus Christ dat bass. One might consider the vocals a little forward in the mix, but fuck it. Her voice adds a nice feature. Production, again, is brilliance incarnate.
Heading East, I Want U has a strange introduction reminiscent of oriental tidings. Adds a nice feature, one would think. One would be right. Tube of the You tells me whisperings that this was released a whopping ten months ago; quite a significant amount of time. Bass and vocals are on point, and that build up just brings forth an audible "Oh fuck", then the drop just fists you in the testes. It's basic, yet effective. She's a true master of production. There's so much going on, yet it's all placed perfectly; nothing sounds out. One can easily feel the power in that distorted bass. Each drop is better than the last.
Games is another elite track on the album. Featuring a peaceful yet strange start, the vocals are so clean you could hang your sins on them. Melodic, bordering DnB, there's a really sick groove going on. In comes the synth; the vocals are perfection. The gentle build-ups and soft drops give the impression of the track ebbing and flowing at its ease.
Coachella is going to be lucky to be graced with her majesty's presence. One More Hit has quite a different intro; I'm not entirely sure what's going on there. Reminds me of Tokyo Drift, haha. Initiate sterilizing bass. Wonderland's percussion is real cool, real nice.
Ignore is almost a change in dimension. Only the heaviest of vocals for the intro, and some strange effect happenings, the groove drifts menacingly on top of that heavy beat. Fuck. It's driving, distorted, perfect; words don't justify. What stood out was the fact that the reverb sounds perfectly calibrated to the track, a point not many others can boast. Heavy flow; another one for the yip-heads.
Back It Up brings forth the diversity she does like to show off. The vocals are unusually approached, but come off incredibly fitting. The rhythm of the drums, driving steadily, reminds me of jungly music. They keep the rhythm; steady and industrial, sheer incredulous. Hard, industrial, heavy, distorted, fuck, steel, iron, invading; this track just has it all. Only qualm is that it ends.
Cold would be back in familiar territory, having a video of its own released around six months ago. Big, large, massif bass and drum intro, with softly contrasting vocals make for a sick flow. Centered around the snare, there's a lot going on. Percussion is next level, the vocals are just lovely, the hats bring it forward in a perfect manner. Ambient synths gear up to the perfect gunshot-esque drop. Fuck. An all rounder. Massif beat.
The last track, a much-too-early ending, Already Gone takes a step back to leave you on a gentle note. The Beethoven intro is simply magical, along with the piano. Shows a certain someones abilities. Diversity and variance, boi. The organ gives it a relaxed atmosphere, and the drop keeps in this same space. It's a strange one; lacking drums but oddly prevailing. The normally violating heavy bass is atmospheric and chilled in the background. Taking a leap in every direction, the wah-synth sounds dubby. The outtro is perfect, albeit a bit too soon if you ask me. The album needs at least another ten tracks, then I'll be satisfied. Well, probably not.
I can't say I've enjoyed an album so much in a long time. I did not expect to hear something like this at all. Mucho Lovo, madam. Fucking hell, the album's a beauty. I think I'm in love. The album is currently available on iTunes. It's worth every cent, penny, whatever. Fuck.
Averagity rating: Mucho Above Average. Mucho Lovo.
Links:
Website: http://alisonwonderland.com.au
Facebook: https://facebook.com/awonderdj
Twitter: https://twitter.com/awonderdj
Instagram: http://instagram.com/alisonwonderland
Soundcloud: https://soundcloud.com/alisonwonderland
Spotify: http://spoti.fi/1mPwOd2
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