I thought Dre's Detox gambit was a great way of defusing crushing expectations for a heralded follow-up to an iconic album.

I've never vibed with Radiohead that much, in that there music rarely hits me that hard, apart from Pyramid Song, but the two lead singles* were pretty cool so I'm going to take advantage of the fact that I got a Tidal trial for Lemonande and Prince's back catalogue to give this a whirl.

I wonder what the difference is in turnaround time for a critic to live with an album before a write-up back in the day compared to now, at least when it comes to releases where the reviewer and the public get the album at the same time.

I love Cookie Mountain so much, but I feel like somewhere along the line TVOTR decided they were cool being the indie Foo Fighters. They're still fun, but the music doesn't feel as meaningful, I guess.

I love the two-colour memory. One thing I love about Inside Out is that Pixar often has its gut-wrenching sections at the beginning before switching up into a more upbeat tone (which makes sense because they're kids' movies, for goodness sake).

I was thinking about poptimism in light of this album and the kinda-exhilarating mostly-tiring constant stream of opinion and interpretation that albums like this. There was a rich thinkpiece seam a couple of years back about the death of the monoculture, and how it wasn't possible to have a totally unifying album…

I finally broke and got a Tidal trial for Lemonade, and so I can play Prince on my phone. I'm not enough of an audiophile to know if Tidal sounds better than Spotify, although the Beyonce album sounds amazing, and was starting to wonder if artist exclusives were enough to get me to jump ship to this.

Schoolboy Q is up there with Will Arnett or Amy Sedaris in my list of favourite people to just show up on a thing

"Please, A$AP was my father's name. Call me Sebastian."

Unlike Flo-Rida, I think Juicy J's monomania about strippers is his own personal life quest.

Yeah, like "Always presidential and this ain't no blue moon", or "Tuck my napkin in my shirt 'cause I'm just modern like that"

Sushi from Toronto's most chandelier-y sushi restaurant all congealing in a puddle of raspberry jus inside a styrofoam case

His lyrics have a weird durability though, certain lines just go through my head over and over. Something about the weirdness of the phrasing, and the weird aspirational doofiness of the scenarios envisaged therein.

Plus for the mental imagine of Duncan Idaho being just furious about aspects of the NWA reunion coverage.

Yeah my friend went to see Korn this year and owns like every Evanescence cd, and Prince is her absolute number one.

Thanks, it was a fun thing to get the chance to see. Flood didn't touch the mixing desk at all, there seemed to be two guys who handled that. Maybe it's more of a "set the levels and keep the tape rolling" thing while they're still hashing the song out.

I went to one of the Somerset House viewings, it was genuinely pretty interesting. They played the same song over and over for the 45 minutes, but it was fascinating to see it evolve, and how the labour was divided between PJ Harvey, John Parish and Flood.

Neat! I'm friends with the bassist in Axes, she'll be tickled pink to know they have been mentioned favourably on this, the Audio Visual Club

Calling for patrols of Muslim neighbourhoods, border walls, total/near-total abortion bans, "we're going to see if sand glows" etc sounds closer to the strongman demagogue hyperbole than accusing as centrist a politician as Obama of being a communist though

Yeah, like the fact that all of a sudden tracks have the kind of "person who's sat down and memorised a guitar chord book"-type chords kind of hints that Billy Corgan was at least in the room some of the time, but the "Billy wrote Celebrity Skin!" stuff definitely smacks of misogyny. Celebrity skin sounds nothing like…