Moodie Black – ALL NATURAL, MOODIE BLACK | Album Review

In 2020, Moodie Black released their previous album, F U Z Z. If I’m not mistaken, it came out either the day of or the day before the COVID-19 lockdown officially began in the United States. I personally love that album, and think it was the best thing they had ever put out up to that point as far as full-length bodies of work go. A lot of times when I love an album that much and think it’s the artist’s best material, I question whether they will be able to surpass it. With that said, it’s not like it’s a rare occurrence. Different artists exceed my expectations and outdo themselves quite frequently. It’s not really a matter of me doubting them, it’s more so just me not knowing what’s gonna happen and trying to avoid disappointment. Anyway, I’m basically saying all this to say that this LP I’m reviewing today, Moodie Black’s first record in six years, is the best album they’ve ever released. F U Z Z was dope as hell. This new one? Incredible, and one of the best releases of the year hands down. Before I describe the spell this project put me under, I want to quickly highlight this interview from FLOOD Magazine. It provides a lot of information that I wasn’t even aware of as a big fan, perhaps most notably that this is the first Moodie Black album without the involvement of guitarist Sean Lindahl. It just provides a lot of very enlightening context for the album itself.

I guess I should note that the album technically hasn’t been released yet, so after I convince you to listen to it with this review you’re gonna have to endure a slight wait. I can assure you that you’ll be hearing it soon enough. Anyway, it begins with FLAME RESISTANT GIRLS. The production here is very intense and kind of ominous. It feels like something that could be in a soundtrack for a suspenseful action thriller type of film. It sounds like it’s building up to a jumpscare or something. I imagine the hard-hitting percussion at the beginning of the track will elicit an enthusiastic grin from every hardcore MB fanatic hearing this for the first time. Everything about the way this instrumental develops is just really enchanting. This isn’t something one would just throw on and have fade into the background. Personally I know there’s no way I could hear this and not pay attention. The percussion might be the most important bone in the skeleton that is the instrumental. I was trying to express that metaphor in a cool way, but I’m basically just saying I think the percussion is the backbone of this beat. There’s a really nice driving rhythm that abducts me as soon as the drums start. I feel like my body locks into the pattern and I’m forced to move with it. I would really love to see this song—and the whole album for that matter—performed live. I’ve never seen a Moodie Black show but I imagine their music would fit that context beautifully. As far as Kdeath’s performance on this song goes, I really love her vocal delivery and it has me wondering how much intention is behind that. I’m wondering how many takes there were and if that was something she went out of her way to focus on, or if she just sounds that good rapping effortlessly. The song reaches a new phase pretty much directly at the midpoint, kinda adding another dimension to the soundscape. I wanna reiterate that despite the very dark, ominous atmosphere of this song, it’s hard not to wanna dance to it. I think Kdeath’s flow sounds really good on the second verse. I think it’s really awesome how she always manages to have a captivating cadence without being overly flashy with the flow from a technical perspective. As far as the lyricism goes, I find a lot of the imagery to be really cool. I’ve always found Kdeath’s writing to be kind of ambiguous or difficult to decipher, and this album as a whole is no different. That is in no way a bad thing though. She’s far from the only artist I listen to with that quality. It just makes me think about the lines themselves more. I rarely feel like I know the true intended meaning, but I often am able to apply my own personal interpretation after many listens, which in a way makes me feel more connected to it. I may be completely misreading the song, but I actually don’t think the lyricism is like super depressing or negative at all. Nothing about these lyrics comes off as hopeless or horribly unhappy. Well, maybe nothing is inaccurate. The opening line is her saying she feels imprisoned. See, this is kinda what happens; I’ll have a thought or idea about some of the lyrics and then I’ll relisten or reread them and immediately retract my interpretation. Ok, here’s a thought: the line where she says “slipping like a white bitch” just makes me think of that old viral video of the white girls trying to dance to Bob Seger’s Old Time Rock & Roll. Do I actually think that’s what Kdeath was referencing? Probably not. It works though. Anyway, this paragraph has taken me a long ass time to write, and this is only the first song, so I’m gonna try to move on now, but the main point is that this song is awesome, and I love it.

Track 2 is called WARM FOR YOU, and this could quite possibly be my favorite song on the album. It’s the longest track here at just under 9 minutes, and it has me mesmerized throughout the entire runtime. First of all, Jeeeeeesus Christ, man. This beat is fucking incredible. I don’t know how anyone could possibly hear this and not move. And then when Kdeath’s soft vocals come in for the hook… *Chef’s kiss* Bear with me y’all, I’m gonna be gushing throughout this whole paragraph ’cause this song is insane. I don’t know if this is gonna make sense to a single other person who reads this, but her vocal delivery on the first verse sounds really sharp. How can I explain this? Well, I guess I’m kinda just saying that there’s a relatively nasal sounding tone to her rapping. To me a more blunt vocal delivery would be someone like Rick Ross, and sharper would be Eminem in 2000. It has nothing to do with the quality of their rapping; I’m strictly referring to their vocal tones. The way she comes in sounds so fuckin’ good, man. This song physically affects me. The flow is perfect for this instrumental. The way her vocal tone fluctuates at different points throughout the verse is awesome too. These lines in particular sound so cool…

I'm mean watching like feeling awkward, I've seen your movies
Painfully stumbling over your feet, and pushing through me
Can't stop myself from enjoying filming of all your ego
I know paper evil work harder, we poison all the people

And then the extra guitar that comes in after the first verse ends… Crazy. The lyrics in the hook really entertained me, and a lot of it has to due with the fact that it took me multiple listens to figure out what they were. At first I thought she was saying “I’ll keep the weather warm for you,” but I eventually realized that she was saying “water” instead of weather. Again, this is another case of me not being sure of the direct meaning of the writing. Some stuff you can hear and just know that it’s meaningful without yet understanding why though. Or—sometimes preferably—the lyricism can be nonsensical, but you may still apply your own meaningful interpretation. Basically what I’m trying to say is, even though I don’t know what this song is about, I can kinda decide what it means to me with more listens. I think a lot of people don’t realize you can do that, but it’s one of my favorite things about music. Well, it’s one of my favorite things about art in general, but I digress. The instrumental outro sounds excellent, and it makes me think of my friend Casey. I am fairly positive that he would love this album. I remember him talking about how he wishes more rappers would learn when to shut up in a song and let the music breathe. He was basically saying you don’t have to smother the track with bars. There are two verses on this song, and they’re a pretty conventional length as far as I can tell. However, as I mentioned before, the song is damn near nine minutes long, so much of it is spent developing the instrumental further. Sidenote: my friend Casey is also a musician, and he’s been trying to figure out his style; a lot of the stuff he’s played me sounded similar to some Moodie Black stuff. I’m definitely gonna send this album directly to him as soon as it drops. This song in particular is incredible, and like I said is one of my favorites on the album.

Track 3 is called TO MY FRIENDS, and it was released about three weeks ago as the lead single for this project. This one actually grew on me the more I listened to the album. With that said, there was never a point at which I didn’t love this song. I just love it even more now after hearing the album many times. A lot of times when I listen to an album a couple times and then take a break from it, the slight familiarity somehow makes it even better when I finally relisten. That’s exactly what happened with this one. I think I definitely understand why it was chosen as the single. It does feel especially cinematic. Kdeath sounds so good here too. Her flow is excellent. This track definitely has one of the best hooks on the project as well. I struggled when trying to think of a way to describe it. I don’t wanna say she’s “screaming” some of the lines because that sounds too extreme. But saying she’s “shouting” the lyrics feels like a bit of an understatement. Maybe wailing? Actually, I should probably just go with yelling. That works. I don’t know. Most people reading this probably just thinks of those words the exact same way. I’m overthinking this for sure. The hook is amazing though. Not a lot of artists can pull something like that off for me. Delivering vocals in that manner generally doesn’t work for me, but it fits with the rest of the song perfectly here in my opinion. There’s an undying tension that permeates this entire record, and this chorus encapsulates that quality perfectly. As far as the writing goes, I definitely feel like I came closer to deciphering these bars than I did on the preceding couple of tracks. The title of this song certainly helps to point me in the right direction, so to speak. As far as I can tell, this isn’t just a song saying “shoutout to my friends, love you guys <3” I personally interpreted this as a message to the friends who mistreated her or abandoned her. Just platonic relationships that soured at some point. Or maybe just relationships period. In fact, it’s possible that she isn’t even referring to literal friends she had. It could’ve just been people who were prominent in her life, or it could be a metaphor for something completely intangible. The possibilities are endless.

The meaning of my planet is the tears at the fringe
'Cause any minute that I'm living I'm aware of the end
So I'm enamored with the patterns, and I'm glad I'm not cis
'Cause I'ma live it like a tXXXXy with the meat on my fists
And I'm a shot up modern blot bad stained problem
In a tall glass deep with a lace steeped honor
This is kayfabe, placed in a fake world winning
Been a long damn time since I felt so pretty

One trait that I feel is present in Moodie Black’s music, and probably has been for a while, is a sense of unapologetic pride and I guess, satisfaction with oneself? I could be totally projecting that onto her, but I feel like a lot of the writing kinda says “I’m me, and it upsets other people, but I don’t care ’cause I’m fuckin’ awesome.” I always love that attitude personally. Well, I guess it depends who it’s coming from. Like, if somebody delivered that message in the context of being a cop or something, that’d obviously be a no-go for me lol. I guess that should go without saying though. Anyway, like I said this song grew on me even more as I continued to replay it. It’s now another one of my favorites. I think it’s dope as fuck.

The following track is called VERDE VALLEY WHITE, and this was yet another major highlight in the tracklist for me. Much like a lot of the preceding material, this song has a very hypnotizing atmosphere that it develops effortlessly. This shit would most likely scare the fuck outta me if I listened to it under the influence of any substances other than ganja. Maybe alcohol too I guess… I don’t drink though, so that would never happen. Anyway, just like with all the other tracks so far, the fuckin’ DRUMS, man. They might be the single most important instrument on this whole album. Listening to this project had me sitting here wondering why they sound so good, and how. Rap albums don’t sound like this very often. The abduction metaphor I used earlier pretty much applies to the whole album. The percussion just locks me into its rhythm and I have to move along with it. I’m probably starting to sound like a broken record, but that point can’t go unstressed. Speaking of rhythm, this song has one of my favorite flows from Kdeath on the whole LP. I mentioned earlier how her cadences aren’t overly intricate, but I will clarify that I do think there’s a lot of technical skill in being able to write something that fits so perfectly over this production style. How do I explain this… Ok, this might seem like a wild comparison, but just follow me here. When Jay Rock released Vice City, it took a couple listens for me to decide that Ab-Soul had the best verse. He wasn’t goin’ ham n’ cheese with the syllables, but the way he delivered it and settled into that specific pocket he got into was, in my opinion, impeccable. That’s kinda how I feel about this song as a whole. That second verse might be the best part. Well, there’s more than one section of the track that I could nominate for being the best part. Her flow on the second verse just sounds amazing.

Done frotting, burying my 16 years
Feeling bad for myself, well-hidden tears
I've worked in abuse, still flinch when I'm touched
I cash what I used, I always woke up
This engine is tough, the first time it could stop
Didn't know how to die, I lifted us up
No "us" anymore, never was, I'm a nut

Unlike the songs that precede it, I am actually fairly certain about what this one’s about lyrically. The FLOOD Magazine article that I referenced in the preamble to this review kind of illuminated the content for me. I definitely wouldn’t have deciphered it properly had I not gotten that context from the interview. I don’t wanna spell the subject matter out for you here ’cause I don’t think I’ll have to. As for the flow I highlighted, I do wanna note how downtempo the rapping feels. Evidence often uses the nickname “Mr. Slow Flow,” which I personally always found to be kind of inaccurate. I never thought his flow was noticeably slower paced than the average MC. His vocal delivery was more unique than the flow itself. He never really has a sense of urgency in his vocal tone, but the flow itself is very regular to me. On the other hand, this verse from Kdeath definitely has a very slow flow. I feel like when I try to rap that slowly it just sounds… wack. Kdeath does it better than I ever could’ve hoped for though. She’s able to match and strengthen the tension of the instrumental. Another thing I wanna make sure I mention is the singing that Kdeath does between the two verses. She sings the words “verde valley white mare,” and it sounds fucking amazing. I may be misremembering, but I feel like the earlier stuff I tried to listen to from Moodie Black was significantly less melodic than this album. I mean, my favorite Moodie Black song is called Crow, and that one always stood out for being more melodic than the others to me. The way she’s somehow able to blend these softly delivered vocals with these chaotic and abrasive instrumentals is super cool to me. I feel like it works 100x better than it should. I didn’t really know what the line she was singing meant, so I googled “white mare” and found a “Hungarian psychedelic fantasy adventure” film from the early 80s called Son of the White Mare.

The animation is pretty goddamn stunning, and I love how eerie the whole thing feels. I always love stumbling upon cult classic foreign animated films like this because nine times outta ten they’re creepy as fuck, but in a really alluring way. Google also told me that white horses symbolize “sovereignty, the transition into the otherworld, or a protective savior figure.” I think every single one of those interpretations applies to this song and probably that film as well. The “transition into the otherworld” is the most interesting to me though. I think of the “Verde Valley” as the underworld in some ways. The vocals from Kdeath in conjunction with the imagery from the aforementioned film—which may or may not be intentionally linked to this song—just makes for kind of an unsettling experience. Unsettling in a captivating way though. Not a displeasing way. Anyway, I wasn’t expecting to write this much about this one song, but that’s just how the quesadilla folds sometimes. I just made that phrase up. Anyway, this song is incredible.

Track 5 is called DICK TUCKED SABOTAGE. This one might actually have my favorite instrumental on the album. The best part in my opinion comes at the 1:34 mark; the way the drums vanish while what sounds like some sort of alarm comes in just sounds so good. I don’t know if “alarm” is the best comparison, but it made me think of the sirens that go off when there’s like a threat of a nuclear explosion or something. What’s the name of those sirens? The shit you hear when you have to evacuate your home and go into a secret bunker. Fallout 4 intro type shit. Seriously though, it’s one of my favorite moments on the whole album. Then when the drums come back in a bit later… Amazing. Every time the hook comes back in it becomes more and more entrancing. Again, this is another song that would be perfect in a live setting. Experiencing this with a crowd would be equivalent to an edifying church service. On my favorite Cloud Envy album, he states that “flow is a higher state of consciousness.” This “flow” he speaks of in my opinion isn’t just in the sense of a literal rap cadence. Lots of things flow, ya know? This song makes me feel like I’m in flow state just by listening to the music. It’s a quality that permeates much of the record. A lot of the album’s sounds and grooves—if you wanna call them that—feel quite intoxicating at times. Pretty much this entire song is like that. I really love the way the first verse begins.

I'm not like other girls
We swim in other worlds
Right where we're s'posed to be
Flowers inside of me

Again, the flows and actual verbal delivery aren’t super complicated/intricate, but Kdeath is able to deliver them with an unmatchable presence. She doesn’t have to get too flashy for me to still wanna tune in to what she’s saying. That opening line just sounds awesome. Taking kind of a lighthearted, tongue-in-cheek, deliberately “cringe” phrase and presenting it in a provocative and grim setting makes for a really cool juxtaposition. The last thing I wanna say real quick before I move on to track 6 is that the extra instrumental variations that come in for the final verse are really the cherry on top. Oh wait, that’s not the last thing I wanna say. Right before the final verse starts, the introductory sequence of shrieking ad-libs just sounds so awesome. I honestly couldn’t quite discern what the actual sound itself was from. I think some of them were vocalizations from Kdeath herself, but other ones sounded like the cry of a fuckin’ hyena or coyote or some shit. It’s really cool. As far as the lyrical content goes, I am not really confident in my personal interpretation’s validity. However, I will nonetheless share it with you today for the sake of making this review as satisfactory as possible for you and me both. In a nutshell, I pretty much understood this song as being about the effects expected gender roles or norms may have on one’s psyche.

Said it louder, full frontal
Little bass in it, lost all control
It's the etiquette I fiddle with
Losing what my language is
Tryna be a better fit, swallowing
Vanishing is better like my elder did
Put me in a blacker den
Fighting for my life, smiling

The last bar in that excerpt is probably my favorite singular line on this track just because I feel like it pretty much epitomizes the theme or idea that I was trying to convey on my EP. This is another song that grew on me more and more with repeated listens. It’s amazing.

The next song is called THE STATIC TREE, and it’s perhaps the only one whose length wouldn’t scare away super casual music listeners. I meet a lot of people these days who scoff at the idea of a song exceeding 4 minutes in length. This track is the shortest on the album, clocking in at just under 3 and a half minutes. In terms of production, this feels like one of the most melodic parts of the album. Again, the percussion is the primary driving force behind the instrumental. Despite the track’s relative brevity, this song doesn’t feel skeletal or undercooked in any facet compared to the others. Much like many of them, I don’t have a firm grip on the subject matter. There are, however, many different thoughts and interpretations that came to mind for certain lyrics. For example, let’s take a look at the final couplet…

I've given all my thing to show my fang, and learned I don't
Wanna be a part of what it is to become known

It’s crazy to me how artists like Kdeath are able to put together words that seem simple on paper, yet inspire such a vast range of different interpretations. That last line in particular can literally be read in multiple ways. Does Kdeath not want to be part of what it is to become known? Or does she not want to be a part of what it is in order to become known?

Nah, but seriously though I love when lyrics are able to make me think like that. Like I said, this song doesn’t feel any less detailed or essential than any of the others just because it’s significantly shorter. The outro of the instrumental kinda made me think of Shlohmo a tiny bit, which might be a bizarre comparison to many of you, but there are similarities there in my opinion. I’m not sure if the relatively shorter runtime will be beneficial or detrimental to this song’s exposure. I personally think this album is best experienced all at once in the proper order of the tracklist though. Overall, this is another phenomenal track.

Alright, at this point the album goes into what I call “beast mode.” In other words, it just becomes extra fire until the end. Track 7 is called CARPET BATHROOM TILING, and it’s actually another one of the longest on the album. By the time I got to the second verse I figured it was the finale of the song, but then I looked and saw that there were over four and a half minutes left before it ended. There’s a really cool extended section of what I guess would be referred to as “noise” music? I don’t know exactly what does and doesn’t classify as noise in a musical context. It’s a loud, cacophonous, yet melodic section of what sounds like a weeping distorted guitar, and the way it finally ends and transitions into the following section with more prominent drums is really awesome. Lyrically, I of course am unsure of the messaging, but I kind of felt like it was about suicidal ideation; the first verse, at least. I could be completely wrong, but it made me feel like I was listening to the perspective of someone who was rapping on a stool with a noose around their neck. Sorry if that imagery is too dark. I probably shouldn’t have said that. I’m sure that’s not even what she was trying to convey through this track, but that’s what it made me think of.

Everything up here so small
Baby spirits, monsters, and fall
Rude lightning, brillant horror thunder
Seeing things catching in the dark going under
Recover, liquored up running
Too much gas in my tank, stunning
All this muscle, worn out smiling
Carpet bathroom tiling

The closing verse on this song is deadass one of my favorite moments on the whole album. It might actually be my favorite verse. I am actually in awe of what she was able to do here. Rappers don’t just use a flow like that and have it actually keep my attention. She carried a TWO syllable flow through the entire verse, and somehow made it fire the whole time. Okay, there were some lines with like three, but for the most part they were two syllables. One must realize that minimalistic doesn’t always mean rudimentary or low-effort. No, it’s not a technically elaborate verse with a plethora of flow switches and multi-syllabic rhyme schemes. That doesn’t mean it was easy to pull off this way though. I feel like it takes an immense level of skill as a writer to be able to conjure a verse with such a strict cadence all while filling it with highly profound and relevant lyrical content. The vocal delivery and performance itself is another elevating factor.

Faultless
Dark sky
Young girl
My thighs
Bad kiss
Healed me
Felt good
To be held
Eyes burned
All night
Nothing
Felt right
Those trees
Scared me
Did I see
What I thought?
Probably not

The storytelling here is crazy to me. This is the type of shit every artist should be striving for when they say less is more. That verse blew my fuckin’ mind. I think this shit is amazing.

It transitions BEAUTIFULLY into the penultimate track, LA PT. III. From a purely musical standpoint, I might like this one even more than the last. This is definitely one of the most danceable songs in my opinion. I think the melodic intro is really nice, and Kdeath’s opening verse contains many of the intricacies that I mentioned being absent from the closing verse of the preceding track. I really like how the second half of this one kinda slows down the tempo, and then takes time to rebuild the previously established momentum. The guitars that come in for the final quarter of the song sound phenomenal, as do the melodic howls in the background from Kdeath. There are similarities between the aforementioned closing verse and that of this song as well in terms of structure/format.

Something in the way, what it taste like?
Gotta be me that you don't like
When they drew the names out of a hat
Without me there, already scared
These people that I drug out didn't hug right
No back bone, but I look ahead
Same dirt, same sky, same sun
What I'm sayin is, it's already been done
Undone
Not done, just ready
Finally
No problems

That “didn’t hug right” line really jumped out at me. I have no clue if this was the intended meaning behind it, but it made me think of being insecure in a relationship and having my anxieties boosted by an unenthusiastic hug from my partner. It’s a straightforward concept, but it is just kind of bothersome to think about. Again, I don’t even know if that’s what she was talking about, but the way she phrased it made me think of it. Kdeath’s syntax evokes ostensibly endless possibilities for interpretations, which is a quality I really adore. Is it just me? Am I the only one who isn’t confident in my understanding of the lyrical content? Let me know if you have similar experiences with Moodie Black. Anyway, this is yet another major highlight for me. I think the song’s dope as fuck.

The closing track is entitled SHOVE YOUR CHILDREN, and it’s boiling hot fuego. It’s another one of the longest songs on the album, which I think is for the best. I’m glad that she ended this project in such a grandiose, climactic manner. The instrumental has a lot going on with multiple phases, and Kdeath doesn’t hold back with the bars on this one. I counted four verses I think. Regarding the instrumental, I think my favorite detail is just the sputtering, glitchy synth that is so sporadic that it sounds like percussion. I guess it would be considered an arpeggiator? I don’t know. I have no idea what that is. I’m not the best at being able to recognize different instruments. It sounds cool as shit though, and I didn’t even notice it on my first listen to be honest. In terms of the rapping, I think the third verse is my favorite. Some of the lyrics were actually very relatable to me. Not in a literal sense, but for example when she was talking about Moodie Black as a musical act and said the following lines…

I've never done a thing as long as I have done this thing
This naked, this afraid, through the bodies, through this pain
Keep trying to hold y'all
Want contact, no pay wall
All feeling, no limits
No promise, no finish

I applied these lines—particularly the first couplet—to myself and this blog. At this point I’ve been doing this for nearly half my life, which is kinda crazy to think about. Once shit like this gets to a certain level it really starts to feel like it’s part of you. Maybe I should just speak for myself I guess, but basically what I’m trying to say is it’s kind of a big deal. When you put this much of yourself into something this ambitious for such a long time, it matters a lot. The closing verse might actually be better though. The way she ended this song is brilliant. When it finally clicked and I realized what she meant by “shove your children in my-” I was blown away. Maybe if you’re not a creator it won’t be as crazy to you, but I was very moved. I really interpreted this song as an ode to creators and their work. I feel like a lot of people have that one thing they’ve worked on/for/towards for most of their lives; something to which they’ve dedicated their entire essence, whether it be a skill, community, child, work of art, etc.

Been a long time
Really long time
Such a long time
So what you do?
Prop your medal up
Prop your humans up
Shove your stupid babies in my face

Not to over-explain, but you know how if you ask an artist what their favorite album is, they’ll say something like “I could never choose a favorite child?” That common metaphor is what informed my interpretation of this song. I think it’s really fucking awesome honestly. This song is incredible. I love it.

^{Wow. That was fun to write. It also took me a really fucking long time by the way. I actually can’t remember the last time it took me this long to finish writing… Well, anything, really. I’ve had this album for months, and yet I didn’t actually finish writing this until last night. I think there are a couple reasons for this. A big part of it is the fact that I am kinda rusty. My last review was published in June, and I’ve written about less than five rap albums from this year overall. The podcast kinda took up a lot more time than I had anticipated, which sadly resulted in me drifting away from writing reviews a little bit. I’m really happy to be returning now though, especially with such a spectacular project. The other cause of this write-up taking so long is the track lengths. These songs are long as fuck! Even though there are only nine of them, there’s a shit ton to unpack within each one. If I was less concerned with timeliness, this review may have been even longer than it already is. I don’t think the track lengths are a bad thing at all though. None of the songs felt unjustified in their lengths. At no point did I feel like any of the songs were a slog to get through or like they overstayed their welcome. On the contrary, I actually wish I could hear even more. Thankfully I can! The vinyl version of this album includes a bonus track that features the legendary Doseone. I haven’t heard the song yet, but lord I need that shit. I already know that collaboration is about to be crazy. Anyway, if it isn’t clear enough already, I love this album. I mean, I really love this album. It’s my favorite thing Moodie Black has ever released, and easily one of my favorite albums of the year. I’m talkin’ top 3 albums of 2026. It might not be 3 either! Seriously this is basically a damn near perfect record to me. I may update this blog with a track review of the bonus track once I get the vinyl. We’ll see what happens. Anyway, I love this thing, and it actually makes me wanna go back and see if I might appreciate older releases more these days. I definitely wanna try out Nausea again. Well, everything they’ve released since then to be honest. It’s even been a minute since I heard F U Z Z, but thankfully that’s gonna change soon (iykyk). Okay, at this point I’m kinda rambling because I’m just tryna make sure I get every thought out before wrapping up. Listen to this shit as soon as you can, and then come back here to let me know if you loved it as much as I did. I think it’s not only one of the best albums of the year, but one of the best albums of the decade period. This write-up is being published prior to the full release, but the music will be available very soon. Just make sure you’re watching closely…}