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Spike Hyzer
A big fan of Post Punk, Punk, Goth, New Wave, and Electronic music, the more British or Euro the better (though I am from the US and love much of our own as well).
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Spike Hyzer's Album Reviews
It's amazing that this album has received the most reviews by far of any Todd record since the late 80s (in fact, there are more reviews for this one than for ALL of the records in the 2000s combined).
This is not a Drill and Deaf Ears are the only tracks worth mentioning, and are the closer and a track in the middle of the album, respectively, which illustrates why this one makes no sense, even as a tribute to various artists and dance music forms that have inspired him (and becoming interested in bad dance music in the 90s is what sank Todd).
And the odd part is that it's bad. It's so so bad. Todd continues to act as if he were 19 years old all the time and wonders what music he would be listening to and what he'd be playing if he were 19 today. Even more oddly, much of this sounds like bad AOR music from the 80s (Don Henley) or the turn for the worse that synth pop took in the mid 80s. If Todd had made records like his last few from 1986-1992 instead of now, we'd have all thought them great and he might have continued to evolve as an artist, rather than nostalgically playing with various forms as if they were toys from the scenes he was not part of (his musical approach now seems to be to pretend he's 19 and join whatever new scene there is).
He's trapped in some corner and his records get worse and worse, and maybe Mr. Uber Environmentalist doesn't know what Bucky Fuller said about how textiles are the single most exploitative industry in human history (or a dummy with white privilege like he wouldn't have written the execrable Buy My T).
This is not a Drill and Deaf Ears are the only tracks worth mentioning, and are the closer and a track in the middle of the album, respectively, which illustrates why this one makes no sense, even as a tribute to various artists and dance music forms that have inspired him (and becoming interested in bad dance music in the 90s is what sank Todd).
And the odd part is that it's bad. It's so so bad. Todd continues to act as if he were 19 years old all the time and wonders what music he would be listening to and what he'd be playing if he were 19 today. Even more oddly, much of this sounds like bad AOR music from the 80s (Don Henley) or the turn for the worse that synth pop took in the mid 80s. If Todd had made records like his last few from 1986-1992 instead of now, we'd have all thought them great and he might have continued to evolve as an artist, rather than nostalgically playing with various forms as if they were toys from the scenes he was not part of (his musical approach now seems to be to pretend he's 19 and join whatever new scene there is).
He's trapped in some corner and his records get worse and worse, and maybe Mr. Uber Environmentalist doesn't know what Bucky Fuller said about how textiles are the single most exploitative industry in human history (or a dummy with white privilege like he wouldn't have written the execrable Buy My T).
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