Either Or

Suuuper boring to me. Sounded like just some random guys whole jam session by himself. Found his voice to be whiny. Definetly not a fan.

Good start to the week! Not an album to get the blood pumping, but chilled and delicate. Favourite track: Say Yes

I think if I were listening to this at home in a focused headspace I'd feel the lyrics and atmosphere and rate this higher. But alas, while trying to work and filter out distracting noise, this is not getting me going one bit.

Tonia is a big Elliot Smith fan, so I've gone to great lengths to like his music. I've listened to a few of his albums multiple times. I got high and did a candle-lit deep listening session with his self titled album. I even watched the documentary. I think the genius of Elliot Smith is lost on me not because he lacks talent, but because we just have something very different in our life experiences. I can tell his lyrics are poetry, but I've never had a line jump out at me. I can tell he's doing something totally unique with his sound and with the production, but it just doesn't resonate with me. The hazy, lo-fi tint on everything is cool, but to me, it makes his work all sound kinda beige and homogenous. One thing I'll say to his credit - it's the kind of music that can be great for a particular moment in time. For example, "Needle in the Hay," is the perfect song for the cutting scene in Royal Tenenbaums. But outside its place in a movie soundtrack, it just isn't my cup of tea.

This album is exactly why I find this project so rewarding. Going in, I had a neutral impression of Elliott Smith at best, and a negative one at worst. I’d always associated him with whiny, depressing, tortured, emo-adjacent music. My only real familiarity with his work was “Needle in the Hay,” which features in one of the greatest needle drops in movie history in The Royal Tenenbaums. I love that scene and that song, but I never had much interest in exploring the rest of his catalog. Well, consider me completely converted, because this album absolutely blew my socks off. What surprised me most is just how brilliant a pop songwriter Elliott Smith was. I’m hearing influences from all over the place, particularly Big Star and the Replacements, with these perfectly crafted little power-pop songs full of irresistible melodies and hooks. “Ballad of Big Nothing” might be my favorite track on the album, and it’s probably the clearest example of that Big Star influence. But there’s also this fascinating spectrum between Kurt Cobain and Fountains of Wayne that runs throughout the record. “Pictures of Me,” in particular, sounds like quintessential mid-‘90s alternative pop-rock. I hear early Fountains of Wayne, Harvey Danger, even a little Oasis. I’m sure Elliott Smith would hate some of those comparisons, but I mean every one of them as a compliment. And then there’s the influence in the other direction. I can hear so much of the indie rock that would emerge 10 or 15 years later in these songs, particularly bands like Yuck and Foxygen. Built to Spill comes to mind as well, although they were contemporaries rather than successors. There’s this wonderful combination of ragged, sometimes fuzzy guitar sounds and meticulously constructed melodies that connects all of these artists. The songs feel intimate, loose and almost effortless, but underneath that simplicity is some genuinely sophisticated songwriting. They’re just incredibly catchy little earworms. Of course, the Elliott Smith I’d imagined before hearing this record is here too. “Between the Bars” is much closer to that fragile, melancholy singer-songwriter reputation, but what a gorgeous song. It’s one of those rare pieces of music that seems to hit some secret emotional button in your body and can practically reduce you to tears. “Landslide” by Fleetwood Mac has that same effect on me, as does “Needle in the Hay.” It’s difficult to articulate exactly why. Something about the melody, the vulnerability of the performance, and the way it all comes together just reaches right into you. It’s devastatingly beautiful. What makes Either/Or so impressive is how effortlessly Smith moves between those two worlds. On one hand, you’ve got these infectious, almost joyous-sounding pop melodies, and on the other, this tremendous emotional weight. Sometimes they’re both present in the same song. And none of it feels forced or inconsistent. I came into this expecting a collection of sad, whispery acoustic songs and instead discovered a record that draws together so many of the things I love about guitar-driven music. I enjoyed this album so much that when it ended, I immediately played the whole thing again. Back to back. That’s about as strong an endorsement as I can give. This is absolutely a record I’ll be returning to, probably many times. What a fantastic surprise, and what an extraordinary songwriter. I couldn’t have been more wrong about Elliott Smith. 8.2/10

Ein Album zum Tagträumen, aber dabei träumt man sich auch bisschen weg von der Musik. Wenige ups and downs bei dem Album, aber ansonsten fine. Gesang war eher mid.

A folky indie listen. The first song had a darker feel to it but then the following tracks kind of picked up the pace. A couple also gave me some sufjan stevens vibes. It’s a moody album, wasn’t surprised that some of the sings were part of the sountrack of a movie.

I know Elliot Smith well. He is a singer-songwriter. This album is very good. Elliot Smith is a great songwriter. He is full of existential angst. His vocals are good. His song have an acoustic guitar sometimes with musical accompaniment. Some of the songs on the album are outstanding: pictures of me, 2:45, say yes and rose parade. In particular, rose parade is a gem. All the songs on the album are good. This is a great album. Five stars

Fragile beauty, perfection.

Yet again, I find myself surprised at how much I enjoyed listening to Elliot Smith. Raw, and lyrically devastating. He’s not an artist I’m going to actively seek out, but I’m glad this project has given me a chance to listen to his music.

My biggest revelation during this project has been Elliot Smith. Figure 8 remains the only album I regretted giving a 4 to and a few days later upgraded to a 5. In fact it's the only album (at around 50% complete) I have remarked at all. His voice is lovely - it's such a mix of indie rocker and so fragile you think he might breakdown in tears at any minute. The music is beautiful. The lyrics are gorgeous but frequently heartbreaking. Lyrically, I particularly enjoyed the chorus to Alameda ("For your own protection over their affection nobody broke your heart, you broke your own 'cause you can't finish what you start") and all of 2:45AM which is just painfully sad. He was such a great lyricist. I'm not going to make the same mistake as last time, given that I listened to this, then immediately listened to it again (and then had another run through of the, intermittently Beatlesy, Pictures Of Me). 5/5

He's so strange and sad. Very good album tho would recommend

Sad boy music and not in a good way

Good Will Hunting !?

It's a pretty standard idie-folk singer/songwriter album. It's got some acoustic ballad stuff and a couple of full band almost folk-rock stuff. It's not bad, but I'm not sold that it's a "must hear" record. It's alright, not great.

Ok

No thanks

I don't have a whole lot to say about this one. It's not my vibe at all, but I do applaud his skill as a songwriter. The lyrics are amazing as poetry, but the music and his vocal style kills the presentation for me.

I couldnt end it...

Insightful, wonderful, great, amazing. Added two songs to different playlists. I adored this album.

the subdued section of music that includes hushed lyrics, simple production, and depressing lyrics rarely ever engage me. this album only perpetuates that feeling in me. the one song that I actually added to my playlist was one that consisted of a livelier sound that felt far fuller than the rest of the tracks. Notable Tracks: - Ballad of Big Nothing

I don't have anything bad to say about Elliott Smith. This album has a nice vibe. It's just not something I'm going to put on very often

I had heard the Figure 8 album by Elliott Smith as that came up earlier in this exercise, but was not previously familiar with this album. This is an Indie Rock album. It's pretty lowkey: the vocals are prominent and the instrumentation is understated. The songs are pretty good and he has a great voice. I would listen again.

I love the lyrics, and the simplicity of the music. I do think the style of instrumentation helps with the vulnerability this album has, but melodically it doesn't really resonate with me

Chill folk

I'm a lyrics person so I very much enjoyed this album. Carefully & well thought out words, which I appreciate. You can tell he was still very raw in his approach and there were times where I wish he gave us more with the production and his voice - the albums was sometims hard to follow. Highlights: Between The Bars, No Name No. 5

Quite liked it!

Interesting.

Soundmässigt behagligt att lyssna på. Låtmaterialet var bra men inget som faller mig i smaken bortsett från sista låten på skivan. Mysigt att ha på i bakgrunden! Åker sannolikt in på iPoden trots en trea i betyg, bra album att ha på i bakgrunden vid jobb eller bara allmänt chill.

It hurts to listen to Elliott Smith but there is loss in avoiding such beautiful music because of the pain it causes. Art connects us with our feelings and his tragic loss only makes Either/Or that much more poignant. This is a solid, gorgeous set of songs and now it is haunting too.

boring

it was raining while I played this, pretty fitting. Very acoustic, mellow, sad

It took me most of my adult life to date, but Elliott Smith is becoming one of my favorite songwriters if the '90s. His music is gorgeous, fragile, and often, *extremely* sad. Elliott smith has, in my opinion, written a solid few of what I seriously think may be the saddest songs of all time (King's Crossing anyone), but even outside of these songs, there is something magical about Elliott Smith's music's sadness, where it can genuinely put you in a bad place if you let it. And you may think this is a crazy thing to appreciate in a songwriter, but you have to respect how hard that is. It speaks to some kind of rock solid, deeply honest emotional core at the heart of his music. Regardless, Elliott Smith is also one of the vanishingly few artists I regularly listen to for whom I'm more of a song listener than an album listener. So I was a little surprised when I spun this and it was just wall to wall Elliott Smith classics. The hit rate here is staggering, the majority of songs on this thing could be an essential piece of a film soundtrack, and *many* of them are. Speed Trials, Alameda, Ballad Of Big Nothing, Between The Bars, No Name no. 5, Angeles, 2:45, and Say Yes are all classics, and basically perfect Elliott Smith songs. I was kind of staggered by this line-up, it's *crazy*. At this point you can probably have guessed, but I'm giving this a 5.

Bit bland but listenable

This is so bland and forgettable I'm not even sure I've listened to it. The audio equivalent of tofu.

Pretty depressing but in a nice way

Fine tekster, kan se for meg å nyte dette på en rolig søndag

Perfect. Don’t listen to after a recent break up.

I like the idea of Elliot Smith more than the actual music. However, "No Name #3" from Roman Candle is one of my all-time most-listened-to songs.

He's an ez listening singer/songwriter to enjo on a Sunday morning. Nice smooth delivery of his songs.

My first time listening to a full album by Smith; I am very struck by a distinct soft flyover sound - the angst of youth discovering meaning. I can see why the lyrics connect with so many people. It's not what I would call "happy" music; no radio-friendly hits. The sound is however very intimate, with Smith playing every instrument. Rest in peace.

I instantly fell in love with Elliot's music when I heard it on Good Will Hunting on the late 90s. These were the days you'd hear a song in the middle of a movie, try to remember a lyric that you thought might be the title, and hope you remembered what it was in the closing credits so you could pause the tape or DVD to read the artist's name. Then you had to go to the record store and talk to the music nerd at the counter to see if he knew the album it was on. And this particular one, you just couldn't find. Fortunately a few years later, I got a good internet connection (for the time) and Napster? Limewire? Something like that. This music has been with me a long time. I just listened to two or three albums of his is in a row earlier this year. Anyway, I love his delicate vocal delivery, how well he conveys his soul and his thoughts, that he's a one man show, and...like literally everything about his music. There isn't a single thing I don't like or could suggest to improve. This is perfection. My inability to articulate how much and why I like this album is frustrating, but fortunately I don't have to do a good job on my review to be able to listen again. Thank you Elliot. I wish I could thank you for how much and how many times you have moved me over the years. ⭐⭐⭐⭐⭐

I found this dull as ditchwater. Not the kind of music I would have gone anywhere near back then, so certainly won't be doing so now.

Definitely some layers to dig deeper into on this album.

I didn't like this album. Maybe it would grow on me, but the first listen brought nothing.

I listened to this one on repeat. And it got better each time. What a great discovery! Favorite track: Speed Trials

Another Elliott Smith, I did like hos other album, though this one is too slow

I've somewhat avoided Elliot Smith for most of my adult life, which is odd, because I do listen to and greatly enjoy a lot of artists and music he had a clear influence on, but a couple really insufferable people in my personal life have listed Elliot Smith as their favorite artist, so it's mainly been spite avoidance. That being said, I can totally understand why someone who first listed to this as a teenager in the 90s might develop a bit of an obsession. But for me this is a decent album that has a tendency to get a bit repetitive. Most of the songs are just sad vocals with acoustic guitar softly strumming in the background, but I did enjoy when it goes a bit louder or adds more instruments. Standouts were "Between the Bars" "Rose Parade" "Cupid's Trick" and "Say Yes"

Not sure I'm really seeing the interactions of the ethical and aesthetic sensibilities here (seems to be a lot more A than Judge Wilhelm in here), but maybe ol' Eilliott is Victor. I don't know, this is probably an album that rewards repeated, close, teenage listenings, because quite frankly my number 1 Elliott Smith complaint is on full force here: the production choices. While I'm sure it's by design, I can't really get past the lo-fi vocals seemingly overcome by the instruments, which are some times blaring and sometimes folky acoustic but always the same lo-fi recording style. Maybe it's been copied too many times, but it just annoys me. Then there's the Music For Depressed Teens thing, which I don't care for since I long since grew out of it and only the things that I latched on to still feel important to me. I don't think he's a GREAT lyricist, but he's certainly not a poor one, and he really seemed to have carved a niche that was copied and exploited by many others. It's just not for me, though, and I do not enjoy it so much as tolerate, even though I can recognize that it's a solid work.

Nope. Made me doze off

This music is of a time and place. Like American art house films. Did I like listening to this? No. It was inoffensive, but it’s muddled along in a breathy kind of way without perking my interest.

Elliot Smith’s music presents softly but invites you into melancholy, even tragic places. It’s important to pay attention as the album rewards close, multiple listens. I commend “Alameda” and “Say Yes” in particular. Also “Ballad of Big Nothing” and “Rose Parade” and “Pictures of Me.” And I love the sound of “Cupids Trick” even if I need your help to know what it’s actually about. Strong 4/5

I once heard that Clapton was called “Slow Hand” because he could play so many notes without appearing to move his hand at all. If that is true, Elliott Smith is like the “Slow Hand” of vocalists. No one I have ever heard has communicated so much emotion in fewer notes and tight range. Amazing!

A really good album, but I feel like it's a warmup for XO. It touches my heart but it doesn't exhume my fucking guts the way the next album does.

This may be the most boring, uninteresting album I've ever heard (and I've heard Selected Ambient Works Volume II). It sounds like he was trying to imitate the Beatles while trying to make it sound like 1990s alternative rock and ultimately failing at both, creating a generic, repetitive folk album. Angeles and Say Yes are alright but the rest are completely forgettable. :3

4.65.

En 1997, un type à la degaine de zonard a débarqué de Portland avec un magnéto quatre pistes sous le bras, et un disque qui a mis le monde à genoux. Ce disque, c’est Either/Or, le troisième album solo d’Elliott Smith, et c'est très exactement le genre d'album qui mérite une note de 5 sur 5. Evidemment, elle est indiscutable car gravée au burin dans le marbre des chefs-d’œuvre absolus du rock indépendant. Elliott Smith, tout juste sorti de la forge punk avec Heatmiser, a pigé un truc fondamental que les braillards à chemises de bûcheron n'ont jamais réussi à capter : hurler à plein poumons dans un micro ne rend pas votre désespoir plus crédible. La vraie déflagration, elle se passe dans le murmure, dans ce souffle fragile capté à ras le micro qui vous donne la chair de poule dès la première mesure. Et Either/Or enregistré dans des conditions de clochard magnifique — entre la cave de ses potes, son propre appartement et celui de sa copine — prouve qu'on n'a pas besoin de millions de dollars ni d'une armée de pontes en costume pour accoucher d'une perfection sonore. C'est du bricolage, certes, mais élevé au rang d'art pur. Ce titre piqué sans vergogne au philosophe danois Søren Kierkegaard (Ou bien... ou bien), ça aurait pu être un piège d'intello prétentieux. Sauf qu'avec Smith, le dilemme existentiel c'est une réalité viscérale, un combat quotidien entre la lucidité crue et l'envie tenace d'aller se noyer dans le premier verre de tord-boyaux venu. Smith a chié du sang pour accoucher de ces douze pépites : il a foutu en boîte une trentaine de morceaux avant de presque tout balancer aux chiottes parce qu’il trouvait ses propres compositions lamentables. C’est précisément cette exigence maniaque qui fait de cette galette un monument, on va droit au but, bordel. Pas de digressions inutiles, pas d'arrangements boursouflés pour masquer la misère. Chaque note est à sa place, chaque silence est un coup de poignard. La force atomique de l'album, c'est ce grand écart permanent entre une sensibilité mélodique digne de Paul McCartney à son zénith et des textes qui vous racontent le fond du caniveau avec une froideur de médecin légiste. Smith joue quasiment de tous les instruments : les guitares sèches qui claquent, la batterie sèche et bringuebalante qui cogne pile où il faut, la basse ronde et ces voix doublées qui viennent vous lécher les tympans avec une proximité terrifiante. Prenez une perle comme « Ballad of Big Nothing » : le refrain a l'allure d'une ritournelle pop insolente, presque guillerette, alors qu'en dessous, le texte vous déroule l'inventaire glaçant d'une existence réduite en cendres par la came et le vide. Et que dire de « Between the Bars » ? En un peu plus de deux minutes, le bonhomme torche ce qui restera à jamais l'une des plus belles odes vénéneuses à la bouteille de whisky, personnifiée en amante perverse qui vous promet l'oubli à condition de vous enfermer à double tour. C'est cruel, c'est sublime, et ça vous tord les tripes d'une manière totalement indécente. Ce qui me fascine le plus dans cette affaire, c'est l'agilité avec laquelle Smith déploie son jeu de guitare. Sur des morceaux comme « Angeles », le picking est d'une rapidité et d'une fluidité tellement diaboliques qu'on jurerait entendre trois gratteux s'échiner en même temps sur la caisse, pendant que le chant flingue d'avance les requins de l'industrie musicale qui rodent à Los Angeles. Et puis il y a cette conclusion magistrale, ce diptyque foudroyant qui ferme le ban : « 2:45 AM », sommet d'angoisse nocturne qui démarre dans un recueillement glacial avant d'exploser dans un mur de saturation dévastateur, immédiatement suivi par « Say Yes », cette éclaircie acoustique d'un optimisme bouleversant écrite sur les ruines d'une relation. Terminer un disque aussi sombre sur une promesse de rédemption pareille, c'est la marque des immenses. L'ironie suprême, c’est que le destin a ensuite rattrapé ce marginal magnifique. Gus Van Sant qui passait par là, est tombé raide dingue de ces morceaux et les a balancés sur la bande-son de son film Good Will Hunting, propulsant le reclus de Portland jusqu'au tapis rouge des Oscars. Putain, voir Elliott Smith en costard blanc au milieu du gratin hollywoodien, c'était l'incarnation même du surréalisme. La suite, on la connaît hélas trop bien : les démons, l'engrenage toxique et la fin tragique en 2003. Mais qu'on arrête deux secondes avec le folklore morbide du poète maudit car Either/Or n’a pas besoin de nécrologie pour exister. Trente ans après, le disque n'a pas pris une ride et il conserve cette intensité brute qui transforme un magnétophone d'occasion en chapelle ardente. C’est rugueux, c’est viscéral, c’est grand, c'est un 5 sur 5.

One of my all time favorite albums.

Sweet, but disposable

guitar

Entre Sufjan Stevens et... Les Beatles ?? Pop rock chill

C’est chiant

Sympa mais un peu boring et répétitif

Speed trials - 3 Alameda - 4 Ballad of big nothing - 3 Between the bars - 4 Pictures of me - 3 No name no 5 - 3 Rose parade - 4 Punch and Judy - 3 Angeles - 4 Cupids trick - 3 2:45 am - 4 Say yes - 4

Didn’t expect to click with this one so much, seen as I’m not normally a “singer/songwriter indie folk” type listener, but it’s got something. There’s all the uncomplicated emotional honesty written beautifully, and the soft whisper vocals layered up and actually very clear to listen to, and there’s the fact that the music does build and change across songs and you get some good lo-fi rock pieced in alongside acoustic ballads, basically none of which I expected to find and help give it a big lift for me. And unsurprisingly with all that, it’s very easy to see at least some of the feed through from here over the following three decades to other stuff I’ve enjoyed, which never hurts either.

I have tried to like this album several times. I respect what he's doing, but just can't get into it.

Levy yllätti. Alkufibat oli että taas laulumies ja kitara. Mutta kyllähän se siitä sitten lähti. Itseasiassa tykkäsin. Vähä niinku Nirvanaa ja RHCPtä akustisesti.

Aivan hyvä levy, ei istu omaan makuun täysiä, mutta kuunteli ihan mielellään läpi.

I had never listened to Elliott Smith before and I should have, it's a very sweet and interesting album that I'll probably keep on listening to for a long time.

so close to a 4

#150 average track rating: 3.4 | favourite: Pictures of Me. Speed Trials | least favourite: Punch and Judy i'm impressed with this album, purely because it has proved that i *don't* actually hate all male singer/songwriters. who knew! this is beautiful; elliott's soft, wispy vocals paired with lyrics that somehow make me feel nostalgic for a life that isn't mine. it's melancholic with an occasional jauntiness in its instrumentation that elevates the experience. it's cool. elliott smith is cool. ಄ albums remaining: 939 ಄ albums I agree with being on the list: 67 [+1 Either/Or] ಄ albums I would consider for my list: 32 [+1 Either/Or] ಄ albums I would not include on my list: 118

It’s a little overly whiny, but it’s fine. I know people absolutely adore this guy.

A favourite during my late teens and early twenties, it’s been a long time since I gave Smith a thorough listen. His reedy voice and unblinking sincerity initially had me worried, but the beauty and craftsmanship of these songs can’t be denied

A phenomenal singer-songwriter who was lost too soon. Not as depressing as his self-titled, but still a raw performance. The sound of lo-fi and Americana is ever-present, and it makes this 36 minute record pass in the blink of an eye. Favorite Song: Between the Bars Score: 89/100

💤

Smith is a great guitarist but I don’t really gel with his vocal stylings. Something about his breathy delivery makes the melodies feel tuneless to me. Which isn’t actually true, there are some actual good tunes in there if I really focus but it’s more effort than I really want to expend to catch the vocal melody.

an excellent album that should demand closer listening at a later time

There are some albums that just make you feel a certain type of way. I am always waiting at the AUT bus stop at 10:15pm at night on a Friday when listening to "Speed Trials" after a long and turbulent week at uni where I've questioned my social abilities, legal skills, and general sanity. There is a level of acceptance that I reach with this album that I reach with few other albums. It's nothing too special musically or lyrically, but man does it nail a vibe on every song that just makes you feel cozy and depressed. Clementine came on directly after I finished it today, which actually fit quite well with the rest of the album. Then Communist Daughter came on, and pissed me off. I love this album. It may be the same song every time, but this album smells like home to me. 9.5/10.

Άκουσα ένα ιρλανδικό συγκρότημα που του έριχνε στ αυτιά την ίδια μέρα οπότε μπορεί και να τον αδικήσω, αλλά χεστηκα

I have rate this and Figure 8 the same but I much prefer the melodies and feel to this release in comparison - hmm

I had listened to Elliott Smith on and off over the years. I enjoyed his material but always found him a bit boring. I'm surprised as I have always been into the Sadcore genre. I love the likes of Red House Painters, Low and Acetone. I also really like acoustic artists from every era. unfortunately Elliott just doesn't really do it for me. I gave this album another go and found it very pleasant. It had some good individual tracks, just not enough to hold my full attention and I felt the songs where just too similar. I know he is massively revered but the real test is would I pick it up at my next trip to the record store. Unfortunately not, even from the second hand racks....

Never heard of this guy. Did nothing for me. He cursed in his lyrics. That’s all I recall. Boring. But 2.5 mil listeners. I was shocked.

nice and calm, good for a peaceful walk.

Isch besser als s Andere

Sad story but great album - can't beat a bit of top notch melancholy.

Good, but in a (sorry sorry sorry sorry sorry) boring way.

Never really been a huge fan of Elliot Smith. Too maudlin for my taste. I don't hate his music, just find it a bit to slow and sad for me.

gostosinho pero no habla mucho

Best tracks: Speed Dial, No Name no. 5, Say Yes Worst: Alameda, 2:45, pretty much everything else I don't think it's terrible but I do not like the vocals and the arrangements

First time listener. Absolutely outstanding. You can hear how hugely influential this has been to artists like Phoebe Bridgers and Sufjan Stevens. Loved it.

Muy suave, como algo que uno escucharía en un bar y diría que es musica chévere pero no se preguntaría por ninguna canción en específico. Solo guardé la primera

ON MY WAY TO LISTENING TO IT five songs in and this is FIREEEEE def listening to it again MMMM i think a 3 but it could be easily a 4

This is decidedly chill with an amazing laid back vibe.

Gorgeous. RIP Elliot Smith

Beautiful, sleepy music. Just a shame that every song sounds like the same song. Good album length though.

Intimo e chill, gusto personale non trovato

As inoffensive as it is uninteresting. 3/5.

Nice album. The music is great, although unremarkable. I wouldn't recognize one song off the album if I were to listen to it somewhere.

I wonder what I would rate this if I were hearing it for the first time. There’s just something about it that makes it stand apart from similar albums that made this list. Does it just feel different because there’s a history? Whatever! Back on repeat it goes.

It's not bad, it's breezy and nice enough. It's just completely bland and forgettable.