I really enjoy that comparison, in no small part because I also loved King of Limbs (although maybe not quite as much as you did). Pablo Honey vs. College Dropout and their roles in the respective discographies would be my biggest half-serious quibble but the point is well-taken.

Damn straight on Fade (and glad to see you weighing in generally - always associate your username with good takes on music). We need that 9-10 minute club mix.

The exact same for me. Once I get to it, it's tough to pull myself away.

"Auto tuned burblings" is deeply unserious. You haven't engaged with his music at all in its contemporary context if you honestly believe that, but I suspect you're just being glib because you dislike the discourse around him right now. You'll note, though, that the person who made the comparison was doing it to…

True. I tend to like Alexis Petridis quite a bit; I expect there was considerable pressure to have a review out early, which isn't really his fault, just unfortunate.

Ah yes, notoriously kind-hearted, easy-going Miles Davis, who never rubbed anyone the wrong way.

Yeezus is fantastic and probably my favorite Kanye album, but I'm finding a lot to love about this one too. A ten-track album with laser-tight aesthetic focus has some built-in advantages over a sprawling record (that may still be incomplete); I still think TLOP is served well by the sheer volume of ideas and…

The rush to review doesn't seem to have done the editing/fact-checking process any favors.*

Honestly, that's exactly what I did. Turns out an exclusive Kanye album is the one thing that would make me subscribe to Tidal. I still hope the dude gives it a full release at some point.

Yeah, he speaks the language of "mainstream politics" well enough, but he's far from mainstream on most of the issues.

Kathleen Matthews. Longtime local news anchor in the DC market.

(Technically, it would be the fourth. I'm not sure I love knowing that.)

I think the Kanye-Bowie comparison makes plenty of sense (in general). I hope Shenanigans is wrong about Yeezus, and I could also quibble with the line he's drawing in Bowie's work, but I definitely wouldn't characterize that as a wild, off-base opinion on either end.

I mean, probably, but then again we don't get a whole thread of action without Vanishing Point, right - from Mad Max on. I'd say it absolutely warrants mention/consideration.

Definitely. (And while I risk straying out of our purview here, I was pretty positive about Sense8 too.)

Gonna go ahead and mention Lynne Ramsay, though at this rate we'll be here all [insert time interval appropriate to your locale].

That was its strong suit, I think. Almost a Michael Mann thematic riff, in that sense - a man with skill in a particular area struggling to leave that part of his life behind and failing, costs be damned. Beyond the (no doubt often-accurate, if sometimes hagiographic) portrayals of war and soldiers we usually get,…

At the risk of losing my old-timer cred, I have to say, I like a ton of things about the last 15 years of pop music. But as someone who missed most of "Miracles" run on radio, it was pretty wonderful to hear it for only the third or fourth time when I first listened to the album. Balin at his peak, possibly.

As a proud owner of one of the color-variant copies of Abacab, you'll get no argument from me.

I was debating Yule-era VU or Phil Collins-fronted Genesis as examples, but neither comes remotely close (or drops off as far). 1985 Starship had nothing in common with Jefferson Airplane except Slick on vocals, not to mention Kantner's complete lack of involvement.