text:
Teach Me How to Dougie
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"Teach Me How to Dougie"
Single by Cali Swag District
from the album The Kickback
Released
April 12, 2010[1]
Format
Digital download
Genre
Pop rap, dance-rap
Length
3:59 (explicit version)
3:01 (edited version)
Label
Capitol
Songwriter(s)
Yung, JayAre, Smoove Da General, Runway Star[2]
Producer(s)
RunWay Star[3]
Cali Swag District singles chronology
"Teach Me How to Dougie"
(2010) "Where You Are"
(2010)
"Teach Me How to Dougie"
(2010) "Where You Are"
(2010)
"Teach Me How to Dougie" is a song recorded by American hip hop group Cali Swag District, produced by Runway Star for Cali Swag District's debut studio album, The Kickback (2011). The song was written by Chanti Glee, Charon Childs, and Corey Fowler, and was released digitally on April 12, 2010 as the first single from the album through Capitol Records. The title refers to the Dougie dance, which originated in Dallas, Texas.
"Teach Me How to Dougie" was a commercial success, and peaked at number 28 on the Billboard Hot 100, peaked at number 1 on the Hot R&B/Hip-Hop Songs, and peaked at number 2 on the Hot Rap Songs. It was certified platinum in the United States.
The song's accompanying music video was directed by Yolande Geralds. The video shows Cali Swag as well as other people partying, dancing and skateboarding.
Contents
[hide]
1 Composition
2 Track list
3 Critical reception
4 Remix
5 Music video
6 Live performances
7 Charts and certifications
7.1 Charts
7.2 Year-end charts
7.3 Certifications
8 References
Composition[edit]
The song features a metronomic and "cowbell-bolstered" beat.[4] Cali Swag District trades their verses "tag-team" style, bragging about the "Dougie" dance and the "special treatment it earns them from women."[4] Jon Caramanica of The New York Times states that JayAre "stakes out dissenter ground", and quotes the lyric: "Back of the party, I don’t really like to boogie / I'm just trying to get bent and meet a thick redbone."[5]
Track list[edit]
Digital download EP
No.
Title
Writer(s)
Length
1. "Teach Me How to Dougie" (Clean version) Yung, JayAre, Smoove Da General, RunWay Star 3:59
2. "Teach Me How to Dougie" (Explicit version) Yung, JayAre, Smoove Da General, RunWay Star 3:59
3. "Teach Me How to Dougie" (Instrumental) Yung, JayAre, Smoove Da General, RunWay Star 3:59
4. "Teach Me How to Dougie" (TV version) Yung, JayAre, Smoove Da General, RunWay Star 3:59
5. "Teach Me How to Dougie" (Acapella) Yung, JayAre, Smoove Da General, RunWay Star 3:46
Critical reception[edit]
Melanie Bertoldi of Billboard said the track seeks to pick up where "You're a Jerk" and "Crank That" left off, and commented while the dance might leave something to be desired, that the track's "catchy, refreshingly simple hook makes it a no-brainer for repeat play."[4] Jon Caramanica of The New York Times praised the song, especially JayAre's verse, calling him "kinetic", and said he flows "hard on all angles."[5]
Remix[edit]
"Teach Me How to Dougie (Remix)" [feat. Jermaine Dupri, B.O.B, Bow Wow & Red Café]
"Teach Me How to Dougie (Remix)" [feat. Sean Kingston & B.o.B]
"Teach Me how To Dougie (Remix)" [feat. Tyga]
"Teach Me How To Dougie (Remix)" [feat. Terravita]
Music video[edit]
The music video was directed by Yolande Geralds, and was filmed in the group's hometown of Inglewood, California.[6] The video features cameos from B-Hamp, New Boyz, and Teyana Taylor, as well as the members of Cali Swag District dancing, partying and skateboarding in the town. It also includes dancing shots of "bubba", a person referenced in the song because of his ability to do the Dougie.[6] C-Smoove stated:
We enjoyed it because everybody came through. It was like our whole city came, so we pretty much knew everybody and if we didn't, we got to meet them. It was all around fun, because we didn't expect that many people to turn out, even though that's what we were looking for. We hoped for the best, but ... it turned out better than we expected. It was just a good look.[6]
Chris Ryan of MTV Buzzworthy complimented the dance and video, comparing it to Hurricane Chris's "Halle Berry" and Digital Underground's "The Humpty Dance", stating, "Finally, a dance movement that we can actually see ourselves participating in. It's simple, slow and looks fun enough."[7]
Live performances[edit]
After releasing "Teach Me How to Dougie" in the spring of 2010, Cali Swag District was invited to perform the single on a number of television programs and at various concert settings. They first performed the single at the 2010 102 JAMZ SuperJam at Greensboro Coliseum in Greensboro, North Carolina on May 21, 2010.[8] The group performed the single at the 2010 BET Awards pre-show by 106 and Park which aired live on the network June 27, 2010.[9] On June 30, 2010, they performed at Skeetox, hosted by DJ Skee, at The Roxy in West Hollywood, California.[10] They performed on Fuel TV network's The Daily Habit on July 2, 2010.[9] On July 21, 2010, Cali Swag District performed the hit song at the Entertainer's Basketball Classic at Rucker Park in Harlem, New York City, New York. During the event, the group members also served as judges during a "Teach Me How to Dougie" competition.[11] Cali Swag District performed "Teach Me How to Dougie" live at the Foxy Summer Jam at Crown Coliseum in Fayetteville, North Carolina on July 24, 2010.[12] Again, Cali Swag District performed at the University of California, Irvine, for their annual Shocktoberfest on October 15, 2010. Finally, they helped kick off the 2011 NBA All-Star Weekend on February 18, performing at the Staples Center in Los Angeles, California., which was aired live on TNT.[13]
Charts and certifications[edit]
Charts[edit]
Chart (2010-11)
Peak
position
US Billboard Hot 100[14] 28
US Hot R&B/Hip-Hop Songs (Billboard)[15] 1
US Hot Rap Songs (Billboard)[16] 3
Year-end charts[edit]
Chart (2010)
Position
US Billboard Hot 100[17] 98
Certifications[edit]
Country
Certification
United States 2× Platinum[18]
References[edit]
Jump up ^ "Teach Me How to Dougie - Single by Cali Swag District". iTunes Store. Apple Inc. Retrieved 2010-07-13.
Jump up ^ "Teach Me How To Dougie". Repertoire.bmi.com. Retrieved 2014-02-11.
Jump up ^ "Teach Me How To Dougie / SR0000636694". Cocatalog.loc.gov. 2009-11-12. Retrieved 2010-12-27.
^ Jump up to: a b c Bertoldi, Melanie (2010-06-11). "Cali Swag District, "Teach Me How to Dougie"". Billboard. Nielsen Business Media, Inc. Retrieved 2010-07-07.
^ Jump up to: a b Caramanica, Jon (2010-04-02). "New Music From Gary Allan and Marvin Sapp - Reviews". The New York Times. Retrieved 2010-07-07.
^ Jump up to: a b c Nadeska, Alexis. "Cali Swag District Bring the Party Back to Inglewood". AOL Boombox. AOL. Retrieved 2010-07-07.
Jump up ^ Ryan, Chris (2010-05-25). "Buzzworthy Obsession: Cali Swag District's 'Teach Me How To Dougie' Video". MTV Buzzworthy. MTV Networks. Retrieved 2010-07-07.
Jump up ^ "More Artists Announced for SuperJam". Greensborocoliseum.com. June 2010. Retrieved 2010-07-14.
^ Jump up to: a b "Cali Swag District Daily Habit (A Top Story)". Antimusic.com. 2010-06-30. Retrieved 2010-07-11.
Jump up ^ "DJ Skee's Skeetox Returns With Lil Jon, Clinton Sparks, Ray J & Cali Swag District". Ballerstatus.com. 2010-06-30. Retrieved 2010-07-14.
Jump up ^ "EMI Recording Artists Cali Swag District To Perform Hit Single "Teach Me How To Dougie" At The Entertainers Basketball Classic". Hiphoppress.com.com. 2010-07-20. Retrieved 2010-07-28.
Jump up ^ "Fantasia Barrino added to Foxy Summer Jam lineup". Fayobserver.com.com. 2010-07-13. Retrieved 2010-07-14.
Jump up ^ "Cali Swag District Teaches NBA All Stars "How To Dougie"". 923now.radio.com. Retrieved 2 October 2011.
Jump up ^ "Cali Swag District Chart History (Hot 100)". Billboard. Retrieved 2010-08-05.
Jump up ^ "Cali Swag District Chart History (Hot R&B/Hip-Hop Songs)". Billboard. Retrieved 2010-07-15.
Jump up ^ "Cali Swag District Chart History (Hot Rap Songs)". Billboard. Retrieved 2010-07-15.
Jump up ^ "Hot 100 Songs: 2010 Year-End Charts". Billboard. 2010-12-31. Retrieved 2014-02-11.
Jump up ^ "Gold & Platinum Searchable Database - February 11, 2014". RIAA. Retrieved 2014-02-11.
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An Empty Bliss Beyond This World
From Wikipedia, the free encyclopedia
Jump to: navigation, search
An empty bliss beyond this World
Studio album by The Caretaker
Released
21 June 2011
Recorded
2011
Studio
A flat in Berlin and England
Genre
Ambient
drone
dance band[1]
easy listening[2]
glitch[1]
minimal[1]
dream pop[3]
tone poem[4]
Length
45:21
Label
Haft Records
The Caretaker chronology
Persistent repetition of phrases
(2008) An empty bliss beyond this World
(2011) Patience (After Sebald)
(2012)
An empty bliss beyond this World is a studio album of The Caretaker, an ambient music project of English musician James Kirby. The LP uses samples of pre-World War II vinyl ballroom jazz records Kirby bought very cheaply at a Brooklyn store in December 2010. The record's editing of the audio sources is based on a study regarding people with alzheimer's disease being able to remember music they listened to when they were younger, as well as where they were and how they felt when they listened to it. An empty bliss beyond this World was The Caretaker's breakthrough album, garnering critical acclaim upon its release and making its way into numerous year-end lists by publications. Pitchfork has called it the 75th best album of the first half of the 2010s as well as the 14th best ambient album of all time.
Contents
[hide]
1 Production
2 Concept
3 Composition
4 Critical reception
5 Accolades
6 Track listing
7 References
Production[edit]
James Kirby did not plan out making a record like An Empty Bliss Beyond This World, and the album was made because of "pure chance in action at all times."[5] The making of the album started when he shopped at a Brooklyn store in December 2010 and bought a ten-dollar collection of numerous old ballroom music records.[6][7] He wouldn't use the records for a while until he was in a Berlin flat, where he spent around a month tracking the vinyls by playing them on a broken turnable and transferring the recordings to a digital recorder he obtained while vacationing in Spain during the 2010 eruptions of Eyjafjallajökull.[5][6] Then, by the time he moved to another flat, he edited and mixed the recordings.[7] The artwork for An Empty Bliss Beyond This World was done by Kirby's long-time friend Ivan Seal.[5]
Concept[edit]
An Empty Bliss Beyond This World follows the mind of a person who tries and struggles to remember even small parts of his life using broken sounds.[6] The record was based on a 2010 study about the ability of people with alzheimer's disease to remember music they listened to when they were younger, as well as where they were and how they felt when they listened to it.[8][9] The Caretaker project was inspired by the use of ballroom music in films such as Carnival Of Souls (1962), The Shining (1980), and the television series Pennies from Heaven (1978), which drew James Kirby to themes of memory loss that appear on An Empty Bliss Beyond This World: "Famously, people as they got older have started seeing dead people, people from the past, and that's their reality because the brain's misfiring. I'm very interested in these kinds of stories. Music's probably the last thing to go for a lot of people with advanced Alzheimer's. There are a lot of people who suffer from Alzheimer's who just hum the same songs over and over again."[10]
Critic Rowan Savage compared the album to Mark Z. Danielewski's novel House of Leaves (2000) due to its "endless and fearfully cavernous space (the ballroom) existing concealed by the deceptive limitations of familiar domesticity" represented with a deep resonant sound.[1] Some tracks on An Empty Bliss Beyond This World have another slightly-different version of it that appears later in the album and have the same name, such as the title track and “Mental Caverns Without Sunshine.”[11][5][12] Kirby explained this was done to give it a déjà vu vibe: "Immediately upon first listen, you’re already questioning where you have heard this song before."[5] The second version of "Mental Caverns Without Sunshine" is only half as long as the first version of the track on the LP.[11] As Savage analyzed, the repeating of samples and loops on the LP questions the listener if "[their] sense of familiarity spring[s] from the loop[s] [themselves] or from the very patina that inheres in the scratchy turntable record as such," as well as "if samples are being looped or whether the pieces chosen, in their role as background to an always already arriving vocal line or dance step, are repetitive in and of themselves."[1] While most of the tracks on the album suddenly end, the album's closer fades out which, according to Savage, is a "memento mori that must go hand-in-hand with the resurrection of sounds as temporally distant as these, with the re-giving of the name and hence finitude, the entry (or, rather, re-entry) into mercilessly linear history."[1]
An Empty Bliss Beyond This World has retrofuturistic themes of disputes between the distant past and the envisioned future similar to Into Outer Space with Lucia Pamela (1969).[13] Savage labeled the album a commentary on modern music that "coloni[zes]" and "dehistoricize[s]" works from the past.[1] He compared the album to when Gary Numan sang "I'm Vera Lynn" on the track "War Songs."[1] Describing "War Songs" as a "peculiar evocation of the 30s and 50s as vocodered through eerie 80s electro," Savage explained:
Where [Numan] was content to tell, The Caretaker [...] has shown, and in doing so gone one better — he’s given us the shade of Lynn herself, while making apparent its ghostly, absent nature. It’s as if Kirby, speaking to a postmodern generation steeped in Stone-cold revivalism [...] is asking: “You call that retro? This is retro” (but also, this is what retro is, and that may not be the comfortable appropriation you’re familiar with).[1]
Composition[edit]
Compared by multiple commentators to William Basinski's album series The Disintegration Loops (2002)[6][1] and the music for the BioShock series,[13] as well as by Brandon Bussolini to the works of Philip Jeck[14] and Mike Powell of Pitchfork to Ekkehard Ehlers' "Plays John Cassavetes 2" and Gavin Bryars' "Jesus' Blood Never Failed Me Yet,"[9] the LP uses samples of obsolete pre-World War II 78-rpm ballroom jazz recordings.[8][10][6][9] The samples in An Empty Bliss Beyond This World's first tracks are the most prominent.[1] Surrounding these samples are vinyl scratches[15] and click and pop sounds that, in the words of Savage, are "steampunk glitches."[1] All of the sounds become more filtered in echo as each track goes on.[1] It is unknown if Kirby added these echo filters or if they are a part of the original recordings, which Savage analyzed gave the LP an "affective" vibe.[1] As the album progresses, the samples become more fragmented and unnoticeable, the sounds stop staying at both stereo channels, and the tracks become shorter, thus, as Savage wrote, "the experience begins to fall apart."[1] This is all until "Camaraderie at Arms Length,"[3] which starts a clear repeat of the music sources heard in the LP's early tracks that ends the album.[1]
An Empty Bliss Beyond This World is one of very few albums where the main focus is not on composition and instrumentation.[12] The primary attention of the album is how the audio sources are altered and edited.[12] As Powell wrote, An Empty Bliss Beyond This World has a "mindless" method of editing audio sources to represent "the fragmented and inconclusive ways our memories work."[9] The tracks on the LP "never feel filled-in from start to finish, and they tend to linger on moments that feel especially comforting or conclusive."[9] Some songs end abruptly in what feels like their mid-way point,[9][1][15] and the album also has a "jump cut" method of transitioning between each track and noticeable skipping through melodic samples.[5] The LP develops from its small changes in reverb and echo and how the amount of noise that surrounds the samples increases.[12] The echo was noted by some critics to give the album a ghost-like ominous feel,[1][15] while Powell wrote that the crooked editing of the samples is what gave the album its eerie feel: "The source material is music designed not only to comfort, but to sound like it existed before you: hymns, love songs, lullabies. Bliss is eerie because it takes the seduction of those forms and turns it slightly askew."[9] Bussolini analyzed that the audio sources used have a timeless feel to them which is also what gives the LP its ghostly vibe: "The music allows for just enough change to hold our interest, but after the party's over...well, the party's never over and it's never quite present. [...] the album ends, but whatever it conjured can't."[14]
While Andrew Ryce of Resident Advisor described the tone of An Empty Bliss Beyond This World as "overbearingly depressive,"[3] other reviewers noted brighter vibes with the LP. Savage wrote that An Empty Bliss Beyond This World was different from the "dissonant and reverberated" past releases of The Caretaker in that it had a tone that was "subtle and disconcertingly reassuring — as if the shades of the Overlook Hotel, in imploring the caretaker to join them, were to ask that he should do so through the medium of suicide rather than murder."[1] This was similarly noted in Powell's review of the LP, which he wrote that "there's something at least metaphorically beautiful-- even slightly funny-- about living inside a locked groove, dancing with nobody."[9] D. M. Edwards, a critic for PopMatters, opined that while some tracks, such as “All You’re Going to Want to Do Is Get Back There” and “Mental Caverns Without Sunshine," are "sublime rather than weird or unnerving," others are "uncomfortable as being ten years old and required to kiss your grandmother on her overly lipsticked mouth."[16] In addition to its bright feel, An Empty Bliss Beyond This World also differs from past Caretaker works in that, until past releases of The Caretaker where audio sources were obscured via lots of reverb, there is much more clear focus on the samples.[5][17][14]
Critical reception[edit]
Professional ratings
Aggregate scores
Source
Rating
Metacritic 82/100[18]
Review scores
Source
Rating
Coke Machine Glow 70%[12]
Mojo [18]
No Ripcord [15]
Pitchfork 8.2/10[9]
PopMatters [16]
Resident Advisor 4/5[3]
Sputnikmusic 3.5/5[13]
Tiny Mix Tapes [1]
An Empty Bliss Beyond This World was The Caretaker's breakthrough album.[19][20] Nick Butler of Sputnikmusic called it one of the most "beguiling" albums of 2011.[13] He highlighted the album's mixture of two different vibes, that the samples used are "often jolly and very dated to the point of arguably being irrelevant to modern ears," and the overall music is "very modern [...] and very depressing."[13] He analyzed that these two tones "don't match at all, and it sends [the listener's] brain into overdrive trying to figure it all out, trying to work out where the link is between those two extremes is."[13] James Knapman of Igloo magazine labeled it Kirby's most "endearing" work released yet due to its combination of light and haunting tones: "What it asks of the listener is a sense of humour and the ability to actively enjoy the aged source material that Kirby has spliced and looped together. It’s a truly haunting experience that is buoyed up by a heady dose of nostalgia and affection that bestows upon it an oddly lilting quality."[17]
Simon Reynolds labeled An Empty Bliss Beyond This World an "excellent" example of a record using hauntology themes.[21] Michael Iovino, writing for No Ripcord, analyzed, "there’s a mysterious sense that what we're listening to is pure fantasy, designed to perplex our constant perception of our reality, of the moment, now, as we experience it, right now. This may just be the first record that emits such a strange feeling with such sublime ghostliness."[15] He highlighted the LP's ability to achieve a "perplexing and strenuous" task of inducing many emotions into the listener, writing that "Kirby does it with a special kind of grace."[15] Ryce called An Empty Bliss Beyond This World "evocative, heart-tugging stuff," stating that "when knowledge of Kirby's intent lurks underneath the damaged acetate grooves, it becomes something else entirely: A poignant interrogation of memory loss and aging."[3] He opined that it was far superior of most other ambient albums that "get lost in their own delusions of grandeur vis a vis elaborate concepts," describing the way the samples are edited on the LP as "simplistic" but "so horrifyingly effective it's hard to feel anything but awestruck."[3]
Andrew Hall of Coke Machine Glow described the album as "a remarkably cohesive listen and one that achieves its goals, but whether or not it, in and of itself, is an entirely creative work is another question entirely."[12] He praised the LP's unique sampling style and "careful" sequencing.[12] However, he also felt that the album was "like a glorified mix with a handful of treatments made to emphasize specific elements of the music being manipulated," writing that "it already has prompted difficult to address questions over ownership, credit, and just how much work actually goes into creating a finished product when working through a method like Kirby’s."[12] Reporter magazine's Alex Rogala called the LP one of the best of 2011, explaining "While it may not be one of 2011’s strongest albums, its adventurous spirit makes it one of the year’s must-listen releases."[22] However, he also had minor criticisms, such as the album's more chaotic elements lacking in musical elements and the crackle sounds sounding like a "cheap effect."[22]
In a October 2014 BDCwire article titled "Cultural Sommelier: Pairing The Caretaker’s ‘An Empty Bliss Beyond This World’ with ‘The Shining’," Tyler Cumella labeled An Empty Bliss Beyond This World one of the most "fascinating" records of the 2010s.[23] He stated that the LP "has the overall quality of something slipping through your fingers, like a memory that you are struggling to cling onto. Rarely has an album created such a haunting, insular look at the life of the mind."[23] He compared the LP to The Shining, the film the album was inspired by, in that they "perfectly capture the sense of a faltering mind, with past and present blurring together into a beautifully eerie whole."[23]
Accolades[edit]
An Empty Bliss Beyond This World landed at number 22 on Pitchfork's list of the "Top 50 Albums of 2011".[24] It later made its way to number 75 on the publication's list of the best albums of the first half of the 2010s decade (2010 to 2014)[25] and number 14 on their list of the greatest ambient albums of all time.[26] Gorilla vs. Bear ranked it number 14 on their list of the best albums of 2011, where their writer Chris called it "some of the loveliest, most heartbreaking anonymous music we never knew we needed,"[27] while Uncut magazine placed it at number 47 on their year-end list.[28]
An Empty Bliss Beyond This World was number four on a year-end list by Tiny Mix Tapes of 2011's best releases, where journalist Embling described the LP as "relevant and necessary" due to the year's rise in the number of films and other forms of media that were "antique revisions, early 20th-century histories made conveniently, divertingly neat" and "tinsel-toned recreations of a world that never actually was, much as we sometimes wish it had been."[29] These films included Captain America: The First Avenger (2011), Midnight in Paris (2011), The Artist (2011), and Hugo (2011).[29] Embling wrote that with the album, "Leyland Kirby presented pre-war 78s in their current, decaying condition, as a testament to the things that cannot be restored, those people, moments, and memories lost to time, out of reach and forever unrecoverable."[29] In 2013, the album was number 79 on a list of "The Top 130 Albums" of the previous five years by Beats per Minute.[30]
Track listing[edit]
No.
Title
Length
1. "All you're going to want to do is get back there" 3:46
2. "Moments of sufficient lucidity" 3:47
3. "The great hidden sea of the unconscious" 3:02
4. "Libet's delay" 3:26
5. "I feel as if I might be vanishing" 1:55
6. "An empty bliss beyond this World" 4:19
7. "Bedded deep in long term memory" 1:48
8. "A relationship with the sublime" 3:36
9. "Mental caverns without Sunshine" 3:13
10. "Pared back to the minimal" 1:45
11. "Mental caverns without Sunshine" 1:35
12. "An empty bliss beyond this World" 3:48
13. "Tiny gradiations of loss" 2:52
14. "Camaraderie at arms length" 4:45
15. "The sublime is disappointingly elusive" 1:44
Total length: 45:21
References[edit]
^ Jump up to: a b c d e f g h i j k l m n o p q r s t Savage, Rowan. "The Caretaker – An Empty Bliss Beyond This World". Tiny Mix Tapes. Retrieved 25 July 2017.
Jump up ^ Roberts, Randall (8 July 2011). "In Rotation: 'An Empty Bliss Beyond This World' by the Caretaker". Los Angeles Times. Tronc. Retrieved 26 July 2017.
^ Jump up to: a b c d e f Ryce, Andrew (6 June 2011). "The Caretaker – An Empty Bliss Beyond This World". Resident Advisor. Retrieved 25 July 2017.
Jump up ^ Phares, Heather. "Patience (After Sebald) – The Caretaker". AllMusic. Rovi Corporation. Retrieved 2 August 2017.
^ Jump up to: a b c d e f g Davenport, Joe (28 June 2011). "James Kirby (The Caretaker)". Tiny Mix Tapes. Retrieved 25 July 2017.
^ Jump up to: a b c d e Bloggins, Kenny (10 August 2011). "[Interview] The Caretaker". The Decibel Tolls. Retrieved 25 July 2017.
^ Jump up to: a b Breznika, Klemen (March 2012). "The Caretaker interview with James Leyland Kirby". It's Psychedelic Baby. Retrieved 25 July 2017.
^ Jump up to: a b "An empty bliss beyond this World by The Caretaker". The Caretaker Official Bandcamp. Retrieved 24 July 2017.
^ Jump up to: a b c d e f g h i Powell, Mike (14 June 2011). "The Caretaker: An Empty Bliss Beyond This World". Pitchfork. Conde Nast. Retrieved 27 January 2012.
^ Jump up to: a b Gibb, Rory (10 October 2011). "Madness, Memory & Mindfulness: An Interview With Leyland Kirby". The Quietus. Retrieved 25 July 2017.
^ Jump up to: a b Pierini, Michele (20 June 2011). "The Caretaker An – Empty Bliss Beyond This World album review". MVRemix. Retrieved 25 July 2017.
^ Jump up to: a b c d e f g h Hall, Andrew (28 August 2011. "The Caretaker: An Empty Bliss Beyond This World (History Always Favours the Winners; 2011)". Coke Machine Glow. Archived from the original on 8 May 2012. Retrieved 25 July 2017.
^ Jump up to: a b c d e f Butler, Nick (29 November 2011). "The Caretaker – An Empty Bliss Beyond This World". Sputnikmusic. Retrieved 25 July 2017.
^ Jump up to: a b c Bussolini, Brandon (14 June 2011). "The Caretaker – An Empty Bliss Beyond This World". Dusted. Retrieved 25 July 2017.
^ Jump up to: a b c d e f Iovino, Michael (31 October 2011). "The Caretaker: An Empty Bliss Beyond This World". No Ripcord. Retrieved 25 July 2017.
^ Jump up to: a b Edwards, D. M. (8 February 2012). "The Caretaker: An Empty Bliss Beyond This World". PopMatters. Retrieved 25 July 2017.
^ Jump up to: a b Knapman, James (15 July 2011). "The Caretaker :: An Empty Bliss This World (History Always Favours The Winners)". Igloo. Retrieved 25 July 2017.
^ Jump up to: a b "Critic Reviews for An Empty Bliss Beyond This World". Metacritic. CBS Interactive. Retrieved 25 July 2017.
Jump up ^ Richardson, Mark (27 January 2012). "The Caretaker: Patience (After Sebald)". Pitchfork. Conde Nast. Retrieved 1 August 2017.
Jump up ^ Byrne, Michael (1 February 2012). "Ambient musician Leyland Kirby sources from music from recorded sounds dawn, and then cuts up/loops/splices it into ghostly fog". Baltimore City Paper. Tronc. Retrieved 5 August 2017.
Jump up ^ Reynolds, Simon (22 July 2011). "Musica Globalista: Simon Reynolds on undead hauntology". Wired. Condé Nast. Retrieved 25 July 2017.
^ Jump up to: a b Rogala, Alex (30 September 2011). "Album Review: "An Empty Bliss Beyond this World" by the Caretaker". Reporter. Retrieved 25 July 2017.
^ Jump up to: a b c Cumella, Tyler (9 October 2014). "Cultural Sommelier: Pairing The Caretaker’s ‘An Empty Bliss Beyond This World’ with ‘The Shining’". BDCwire. Retrieved 26 July 2017.
Jump up ^ "The Top 50 Albums of 2011". Pitchfork. Conde Nast. 15 December 2011. p. 3. Retrieved 25 July 2012.
Jump up ^ "The 100 Best Albums of the Decade So Far (2010-2014)". Pitchfork. Conde Nast. 19 August 2014. p. 2. Retrieved 8 January 2012.
Jump up ^ "The 50 Best Ambient Albums of All Time". Pitchfork. Conde Nast. 26 September 2016. p. 4. Retrieved 26 July 2017.
Jump up ^ Chris (5 December 2011). "gorilla vs. bear’s albums of 2011". Gorilla vs. Bear. Retrieved 26 July 2017.
Jump up ^ "Uncut's Top 50 Albums Of 2011". Stereogum. SpinMedia. 29 November 2011. Retrieved 15 December 2011.
^ Jump up to: a b c "2011: Favorite 50 Albums of 2011". Tiny Mix Tapes. 15 December 2011. p. 5. Retrieved 26 July 2017.
Jump up ^ "BPM 5: The Top 130 Albums". Beats per Minute. 15 October 2013. p. 4. Retrieved 26 July 2017.
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