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Originally called Tiny Mixtapes Gone to Heaven [2] and hosted on GeoCities, the webzine moved to its current domain in 2001. Tiny Mix Tapes is a featured reviewer on Metacritic. [3] The writing staff is composed of volunteers who often use pen names (such as "Wolfman," "Mango Starr," "Chizzly St. Claw," and "Filmore Mescalito Holmes").
Pitchfork named The Disintegration Loops I–IV the 30th-best album of 2004 [10] and the 196th-best album of the 2000s. [11] In 2016, Pitchfork named it the third-best ambient record of all time. [12] It was named the 86th best album of the decade by Resident Advisor, [13] and the 10th best by Tiny Mix Tapes. [14]
An Empty Bliss Beyond This World was ranked fourth on a year-end list by Tiny Mix Tapes of 2011's best releases, with journalist Embling describing the LP as "relevant and necessary" due to the year's rise in the number of films that were "antique revisions, early 20th-century histories made conveniently, divertingly neat" and "tinsel-toned ...
The 70 Best Albums of 2010 [20] 67 The Best Experimental Music of 2010 [21] 9/8 Prefix: Best Albums of 2010 [22] 29 The Quietus: The Best Albums of 2010 So Far [23] 11 Resident Advisor: Top 20 Albums of 2010 [24] 13 Stereogum: The Top 50 Albums of 2010 [25] 41 Tiny Mix Tapes: Favorite 50 Albums of 2010 [26] 6 Uncut: 50 Best Albums of 2010 [27] 20
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Of the 108 tapes, Morgen chose to release cassette number 54, entitled Montage of Heck; he used it as the companion album to his documentary Kurt Cobain: Montage of Heck. [ 4 ] The tracks on the album are a culmination of covers, original songs, early Nirvana demos, interludes, and spoken word entries recorded by Cobain.
[14] Lukas Suveg of Tiny Mix Tapes stated, "Although this final version could have featured more diverse song selections, Alpinisms is an undoubtedly singular album, setting the bar quite high for this burgeoning trio." [17]
[38] In a highly positive review, Tiny Mix Tapes reviewer Joe Hemmerling gave the album four and a half out of five stars, writing "Twelve Reasons to Die delivers spectacularly on its promise," and that it is one of the "bloodiest, most ambitious, and straight-up funnest hip-hop albums of 2013". [39]