Odelay

I loved this period in the 90s when the floodgates were temporarily opened to allow for truly unique and idiosyncratic music to make it's way into the mainstream. Record labels were taking chances again, trying to find the next unpredictability big thing in the wake of Nirvana's success and the creation of the "Alternative" classification. Is Alternative still a thing or has that simply evolved into Indie? Had Beck come up in any other time period I think he would have remained a fascinating sort of semi-outsider artist that was beloved in hip circles, but because he came up when he did, he was able to really let his musical ideas run wild and we're all the better for it. As a lad, I really identified with Beck's whole approach. His melding of genres, his surreal lyrics laced with humor, his thrift store hodgepodge aesthetic, his back catalog of smaller indie records that revealed his true range and depth, and then of course records like this one that showed he was capable of practically creating a genre of his own. In my opinion this record temporarily broadened the palette for pop music in the 90s and early 2000s; loosening genre barriers, interweaving samples more fluidly, allowing for more esoteric material, and essentially popularizing a sort of free wheeling collage aesthetic outside of a purely hip hop context. Though "Mellow Gold" is great and "Loser" was, and still remains, his biggest hit, I fear Beck would have remained a one hit wonder had he not met up with The Dust Brothers. They were able to give his musical vision the scale, flow, and shine it needed to cement his appeal with a mass audience. Together they made something that was not only unique and innovative and fresh, but something that was fun as hell. One of the first real big shows I ever went to was seeing him play on the "Odelay" tour with The Roots as the opener. Man, it was a good time. Almost as good a time as I had blasting this album on repeat from a boombox in the backseat of my friend's car during the summer of '96.

People say this album is ahead of its time and groundbreaking. I say its a pretentious mess of experimentation that doesn't work.

Everybody's gonna throw rocks at me, but... I never got into Beck's music. All the songs seem to me a collage of somewhat haphazard ideas. There's a lot of work and pretty innovative stuff, but unfortunately it never becomes memorable or catchy (at least for me). It was like 52 minutes of "oh yeah, we're gonna put a tambourine there, oh and a robot voice here... And a sampling of that song at this moment", but it remains irrelevant at each time. Sorry. :(

This was very obviously a Beck album from the first song. He seems to skip from genre to genre in a care-free manner but he manages to keep a consistent theme through the album as well. Hotwax is country and High 5 is hip hop and other songs are blues. I see where he got his reputation as being able to master any musical genre. Fav songs: Devils Haircut, Hotwax, Ramshackle

A bizarre yet unique trip through the imagination of alternative rock and hip hop. Not always spot on, but a darn good experience. Favorites: "Devils Haircut", "Where It's At", "Ramshackle"

A somewhat strange album in the sense that I don't get the hype. A couple tracks are pretty good but a lot of them are just nonsense. Album felt scatterbrained even though I normally like eclectic albums.

This truly was a huge disappointment for me. A Grammy winning album that is jumping from genre to genre with each song, each time in a worse manner while sounding awfully a lot like Kid Rock

I had picked up this album a while back, and at the time I did not really care for it. Think I sold it back. It's interesting how my taste has evolved, because listening to it now I am really enjoying it. Maybe it's the wide range of songs, or my larger appreciation of Beck in general, but it's just got something to it. Call it a swagger, call it what you will. It reminds me a lot of Beastie Boys' "Ill Communication," but in a good way. The big hit songs are great, but the other tracks stand by themselves, too. Really surprising to me.

beck has some good ideas and there must be a reason for him being so liked but oh my god i find him so fucking irritating i feel like there's a kid next to me trying to tell me the plot to their favourite video game that they can't remember properly when I listen to this music. for that reason fuck this album its a 1

Yes

Beck rules, no idea how he does it but I look forward to every song as they come next. This album is so good and has so many hits on it, but even the non singles are great. Will listen to again

How in god's sacred secretion's name, does BECK have a SECOND album on here? And what in the most insidious of infernos is Beckerton trying to do here? This album has less direction than Columbus with a broken compass. Hold this sympathy 2, and may I NEVER have to listen to this confused man ever attempt to rap or speak Spanish ever again.

Alternative rock, 1996. Despite the fact this record was released in the 90s it still sounds really fresh and actually good. Since the first tracks it's clear that in this album Beck is very inspired and the tracklist is really well balanced between the different moods of the songs. Maybe this is not a masterpiece, but it's definitely a cult.

Wait, this is where I meant to put the Quintessential Beck comment. It's a dope ass album, and like most Beck albums are pretty solid even over 20 years later.

Ah Beck. I love Morning Phase and Seachange so much, you'd think I'd know this album back to front and inside out by now. But that's the magic is Beck - always something different every time. I've never really bothered to listen to this one. But that's my problem, because this is joyous, chaotic, and masterful.

Exceptionally creative and unique; a genre-hopping, one of a kind album that was as much of a breath of fresh air in 1996 as it today, in the midst of partaking in this challenge.

8/13, 62%

Stone cold classic

That distorted screaming at the end of Devil's Haircut isn't made in anger, and it's not felt in anger. It's an expression of the joy of expression itself, and it makes you want to smile and scream along too. It's the removal of the shackles of genre. Does anyone remember the "anything but rap or country" saying? Surely this album killed it. I'll take rock in my rap in my country in my samples in my hip hop if it makes me smile like this. If you start to wonder whether he's serious, the penultimate heartfelt Ramshackle is a highlight. Capped off by the fart of Computer Rock, as if to say, I'm serious, but not *that* serious.

Manic and experimental, wild and weird, there’s nothing quite like it. So many of these songs (and the entire album in general) feel haphazard and randomly stitched together and yet everything clicks. Every sudden genre switch, every vocal effect and every sound effect feels like it’s right where it’s supposed to be. I’d love to learn more about the editing and mixing of this album. It’s perfectly paced and sequenced. Beck knows when to push it and when to reward the listener. The easy, country vibe of “Jack-Ass,” for example, feels like a cool breeze after the chaos that comes before it. Fun, playful and insanely entertaining.

I hate finding something like this that I should have gotten 25 years ago. I really love it. "Devil's Haircut" and "Where It's At" played pleasantly in my background in the 90s, and I suspected that I might like Beck, but I never pursued his music as I ought to have. I love this whole thing lots. Its trip through genres is a trip I loved. Although I would like to share my affection for each track, I will just share my favorite pants-related lyrics from three different songs: "In the chain-smoke Kansas flashdance ass pants" "Going back to Houston/To get me some pants" "Okay, now do like designer jeans [...] ooh, la la Sasoon"

Although I had owned Beck's Mellow Gold, for some reason I didn't listen to Odelay back in the day although I was familiar with the big hits ("Devil's Haircut," "The New Pollution," and "Where It's At"). Beck uses distortion, samples and effects quite a bit on Odelay. This was front-of-mind after struggling to cope with The Jesus and Mary Chain's heavy use of distortion. I never struggled with Beck - I enjoyed the gritty distorted parts, the donkeys braying, distortion on the instruments and vocals, the record scratches and the other unique sonic touches scattered throughout. They worked well here and mostly enhanced the listening experience. I love the laid-back nature of Odelay. Lots of eclectic styles to discover: the exotic sounds of "Derelict," the driving "Devil's Haircut," the down-homey "Hotwax," the harder edged "Novacane," the dreamy "Jack-Ass," the punk-like "Minus," the twangy "Sissyneck," the out-there-sample-laden "High 5 (Rock The Catskills)," the quiet "Ramshackle." All the songs feel really unique, interesting and still coherent together as an album. Beck's music is really unique and at times weird and wild while still managing to be cool, unassuming and surprisingly approachable. It didn't immediately demand a 5 from me, but I'm happy to give it a 5 'cause I got nothing but praise for it. Odelay is doing its own thing and doing it really, really well.

still sounds fresh.

Really great. He messed around with synths alot on this album and I loved how chill it was.

Still awesome and bonkers.

Fuck yeah what a freaky little album beautiful sax flutters throughout (especially Where It's At) excellent outros on Hotwax and Novacane (and a Daft Punk sample?), all the weird little dial tones, big cuica time in the bridge of High 5 (sick track overall).. heaps of cool little moments that culminate in an overall excellent listening experience.

Noise jams, reminds me of childhood.

A bit too noisy for my preferences. I like melodic Beck a lot more, and that only shows up on a song or two here. This still has a lot of famous songs, but they aren't my favorite songs. Liked it, didn't love it.

This shit is weird, but not like in a fun way. It’s more in a concerning “are you okay?” way. It’s got some captivating rhythms, but some songs definitely gave me the creeps when I listened through the album. Something just sorta felt off throughout it. Overall, it was not an enjoyable experience.

The summer this album was released, I was doing some serious yard work. As I scraped moss from the driveway cracks, a fuzzy drum heavy The New Pollution to the rambling Sissyneck kept me on my musical toes, or, in this case, knees. Along with DJ Shadow’s Entroducing, Odelay was my favorite albums of the year.

The essential follow-up to Paul's Boutique (granted it was made with The Dust Brothers), Odelay showcases Beck's ascension from post-grunge slacker idealism to something far more eclectic and less predictable. Without this album, it becomes somewhat strange to envision a music atmosphere where indie rock musicians wouldn't pivot to two turntables and a microphone and remain complacent with their guitars and drums. We'd be doing sad hot dog dances in Houston at the thought of it. Good thing we don't have to. Favorites: Devils Haircut, Lord Only Knows, The New Pollution, Novacane, Jack-Ass, Where It's At, Minus, Sissyneck, High 5 (Rock the Catskills).

Sweet album. So completely unpredictable makes it really fun to listen to, and even with the mix of genres and random noises popping into songs they are still super enjoyable. 7/10

Not bad. Ive never been a big Beck fan but I can see his influence.

Odelay blends a lot of genres and sounds into an album that doesn’t feel cohesive and can border on obnoxious. I really don’t get Beck.

No. 62/1001 Devils Haircut 3/5 Hotwax 1/5 Lord Only Knows 3/5 The New Pollution 3/5 Derelict 2/5 Novacane 1/5 Jack-Ass 3/5 Where It's At 2/5 Minus 3/5 Sissyneck 3/5 Readymade 3/5 High 5 1/5 Ramshackle 3/5 Diskobox 1/5 Average: 2,14 I liked his more melodic approach on Sea Change way better. This was just too experimental for me. Also I don't like how he handled the inclusion of different genres. There is nothing coherent that binds the songs together. The genre jumps were just too dramatic for me.

The most uninspired, derivative, boring dreck I've heard in a long time. Packed with random bits and bobs that make no sense, nothing is cohesive, lyrics are bad, and no shape to any of the songs. They go nowhere.

I did not enjoy this album at all. It was a bit too electronic for my taste. The hip-hop inspiration felt a bit too messy so I couldn't really find anything to enjoy besides the last song.

freaking amazing

One of my favourite Beck albums and definitely my favourite album cover of his. Devil’s Haircut is a great song, opener and concept in general. Drums sound like something from a dance anthem. The quirky synths and effects weaved between barmy words quickly establish the credo of the album ‘rotten oasis’ is a favourite of mine. Hotwax bit of an incidental country infused dentist drill of a song. Lord Only Knows has has shades of Crosby, Still, Nash and Young, Nilsson, it’s understated and bizarre at times. The New Pollution is absurd and undeniably poppy. It’s got swinging sixties drumming and guitar riff throughout. Top drawer Beck lyricism all over it. Novacane’s high pitched segment doesn’t do much for me, but hats off for creating such a horrible bit and then going into the lovely lullaby that is Jack-Ass. Where It’s At has such a cool vibe. It’s the highlight of the album for me. Superb songwriting, very vivid imagery conjured up and catchy as heck. And it has those weird Beck moments sprinkled over it ‘that was a good drum break’. Minus has that great earthy guitar and chugging momentum. Sissyneck has a lot of country bumkin, hick charm and then a brilliantly simple, sliding bluesy chorus. Once again, plenty of quality wordsmanship going on here. Ramshackle is the kind of lazy ditty Beck effortlessly makes cool. Would not be out of place on One Foot In The Grave next to Girl Dreams or Cyanide Breath Mint.

A great album, and Beck's high point by a long shot, where the stars align on all the eclectic musical interests he has. The album isn't even of course--you wouldn't really expect a Beck album to be. Minus is a minus, for example, and High 5 is a little grating. But the high points of the singles--Devil's Haircut, New Pollution, and Where it's At--as well as deeper cuts like Hot Wax, Novocane and Jack-Ass, far outweigh the misses. 5/5

really good. genuinely like nothing ive ever heard before.

Love this album.

This is “Where it’s at”! Love the slide guitar and scratch noises. It’s my kryptonite!

Pretty damn glorious. I knew a handful of tracks and I really love New Pollution and Devil's Haircut, but ever track was enjoyable. I love the combination of great songs with ramshackle instrumentation, drum beats and stream of conscious poetry vocals. There's punky numbers, laid back ones, plenty of fun lines. Deservedly a classic.

Great, very my style of music, some long songs with lots of instrumental parts

I love all things Beck. Mellow Gold was a nice record but this one really pushed him into the stratosphere. People will be singing "Where it's at" to themselves for generations

Note : 4,5. Top from the 90's. Listened to it 1000 times, still fresh after 30 years, filled with good songs and strange sounds.

Yeah, Beck zeigt die ganze Bandbreite in einer wilden Fahrt durch Genres. I like it!

Awesome

Great album.

Still listen to this one frequently. An eclectic mix of songs and sounds.

Ended up really really liking this. Some songs maybe went on a little too long. But overall I loved this.

Still holds up. Amazing how analog it sounds now, despite seeming like it was beamed down from another planet at the time. Kudos to Beck & The Dust Brothers for an all-time/nuanced banger.

This was the album that sparked my love for Beck after knowing scattered songs of his. Ever since, he's been one of my favorite musicians.

10/10 5/5 loved it no notes

Masterpiece. Fav song: Jack-Ass

Odelay is what happens when you give a musomaniac genius an opportunity to build his perfect album. Beck threw everything he loved into this album. Why wouldn’t you add Middle Eastern modes into Derelict? Was Novocane originally a Beastie Boys song? All songs like New Pollution should start like the Jetsons and mold immediately into a 1970s Curtis Mayfield groove. My favorite songs were Jackass, which was almost autobiographical about my late 20s, and Sissyback, which is just a whistle blowing country-funk mashup that I am still trying to decode, and, of course, Where It’s At. There were no albums like this. There are no albums like this, even by Beck. This is his and our opus.

Random thoughts: * This is such a 90s album. It just sounds so 90s with the hip hop influences and samples. Plus the freak folk of Beck. * This is peak Beck in my opinion. He's done so many different things since but this was his masterpiece. He's done a lot of great stuff since but nothing ever matched this height. * Top tracks are "Devil's Haircut", "The New Pollution", "Jack-Ass", and "Where It's At". * The lesser tracks are good too. "Derelict" stands out for me.

loses a little steam in the final third or so but otherwise Right up my alley

So gooooood. Total 90's dream.

Choice 👌🏻

Where it’s at, indeed

Joyful, full, upbeat and complicated.

So good

I listened to this album a lot in the 90's, and I revisited it and Beck's whole discography a couple years ago. I think Odelay feels a bit its age, unfortunately. However, I think it is still fun trip of nostalgia for those that knew it or a view into a time when something this fresh could come out of left field. There really aren't much being created like this with this production, right now, because the state of the industry doesn't really allow it. Therefore, I could really give this a 4 based on how much I may really want to listen to it nowadays or 4.5, but I think 5 is deserved if you take into account where it came from, how much it really was "everywhere," and how original it really was at that time, mixing together so many things into every song.

I just like it! Every song has a unique groove and honestly really good writing. There's some really interesting instrumentation in there. That flailing piano in the background of Hotwax along with some nice bongo, the bass in Lord Only Knows holding it all down (also that unhinged scream at the beginning was ideal) and the fun little acoustic interlude near the end, the sax in The New Pollution, the percussion in Derelict marching along and each piece offsetting the rhythm of the others and the lyrics and what a great ending with the stretched out chords, the thrilling background in Novacane contrasting with the fuzzy vocals, the snappy keyboard in Where It's At and the nice wind interludes (especially the sax), the perfectly timed chimes and stretched out hits in Minus, the soaring guitar contrasted with the alarms and then that crackling static at the end in Skyneck feeding into the same effect in Readymade which has jangling keyboard riffs and horn interludes, High Five has that beat laid down with jangling tones contrasted with smooth horns and a fun percussion feature in the middle, the acoustic guitar with slight key change in Ramshackle.

Great album I've heard many times. Devil's haircut was the first beck song that really grabbed when I was a teenager

This was the first "cool" album I bought. Its such an odd album in that it all feels cohesive in the way it's so random and almost searching? Its not the best album but I think that's the point. When it works it's magic and when it doesn't it's still a whole lot of fun. My 5's are getting weird

Let’s make it out baby

For the longest time, all I know from Beck was Loser. I've never liked Loser all that much, so I thought I just didn't like Beck. It's only recently through the countless reccomendations from my parents that I decided to open my mind to his music. I heard a few tracks from this album, and thought they were pretty good. I was no longer a Beck hater. Now with listening to Odelay through this challenge, I think I'm a Beck fan. This thing is full of fun and interesting ideas. Percussion is fantastic throughout, the sampling is incredible and the extra bits he adds all contribute wonderfully to the final product. Fantastic song writing. It's honestly such a fun time. Truly genius work here. Standouts: The New Pollution, Jack-Ass, Sissyneck

Awesome!

Not many records can be brilliant and have a sense of humour. Great record. Bit too long.

Excellent

An absolute mess of an album in the best possible way. Folk, Lo-Fi, Hip-Hop, Dadist Poetry, Blues, Pop, Southern Drawled vocals - there's something for everybody here. Beck and the Dust Brothers at arguably the peak of their powers. Best Tracks: Devils Haircut; Lord Only Knows; Where It's At

cool as fuck and still sounds amazing

Love this.

Really great stuff here.

Great album so many memories 5*

🔥🔥🔥🔥

Slackery remix jams. Like sugar ray but good

Beck's *Odelay* (1996) is a landmark album that redefined genre boundaries in popular music. Its eclectic mix of alternative rock, hip-hop, folk, blues, and funk, combined with Beck's surreal lyrics and The Dust Brothers' groundbreaking production, created a sonic collage that remains influential. Below is an in-depth review of the album focusing on its lyrics, music, production, themes, and influence, along with its pros and cons. ## **Lyrics** The lyrics on *Odelay* are often abstract and surreal, showcasing Beck's knack for stream-of-consciousness storytelling. Tracks like "Devils Haircut" feature vivid imagery and cryptic lines such as "stealing kisses from leprous faces," which evoke a sense of disillusionment and identity crisis. "Where It's At" celebrates music's transformative power with playful rhymes and quirky phrases like "two turntables and a microphone," which became iconic. Songs like "Hotwax" and "Lord Only Knows" blend nonsensical wordplay with cultural references, creating a patchwork of evocative yet elusive meanings. Despite their abstract nature, the lyrics often touch on deeper themes. "The New Pollution" critiques consumerism and modern culture, while "Ramshackle," the album's subdued closer, reflects on loss of identity in a homogenized society. Beck’s lyrical approach is less about direct narratives and more about painting fragmented images that resonate emotionally or intellectually[1][2][5]. ## **Music** Musically, *Odelay* is a kaleidoscope of genres. Beck seamlessly blends bluesy guitar riffs ("Devils Haircut"), country twang ("Sissyneck"), funky grooves ("Where It's At"), and Eastern-inspired melodies ("Derelict"). The genre-hopping nature of the album is one of its defining features. Tracks like "Hotwax" shift between folky blues, psychedelic rock, and hip-hop within minutes, showcasing Beck’s ability to make disparate elements feel cohesive. Sampling plays a significant role in the album's sound. The Dust Brothers brought their expertise in layering samples to create intricate soundscapes. For example, "Where It's At" features a playful array of samples, including spoken-word snippets and quirky sound effects. Meanwhile, "Readymade" incorporates Mexicali influences with techno beats to craft an intentionally tawdry yet compelling vibe[2][3][5]. ## **Production** The production on *Odelay* is nothing short of revolutionary. The Dust Brothers' work on the album involves extensive use of sampling, looping, and layering to create textured tracks that feel both chaotic and meticulously crafted. Their approach was influenced by their earlier work on the Beastie Boys' *Paul’s Boutique*. Beck described their studio process as experimenting with how much they could "mess up" each song while still making it work[2][6]. This experimental ethos allowed for moments of brilliance where seemingly incompatible elements coalesced into something unique. For instance, the gritty guitar riffs in "Devils Haircut" are paired with hip-hop beats to create an infectious groove. The production also ensures that every track feels distinct yet part of a cohesive whole[1][3]. ## **Themes** *Odelay* explores themes such as identity, disillusionment, consumerism, and cultural fragmentation. While Beck's lyrics are often cryptic or nonsensical on the surface, they reflect broader societal concerns beneath their playful veneer. For example: - **Identity**: Tracks like "Devils Haircut" delve into questions of self-perception and societal roles. - **Consumerism**: "The New Pollution" critiques the emptiness of modern consumer culture. - **Cultural Fragmentation**: The album itself is a metaphor for cultural hybridity, blending genres and influences from various traditions to reflect the fractured yet interconnected nature of contemporary life[1][5]. ## **Influence** *Odelay* had a profound impact on both Beck’s career and the broader music industry. It cemented Beck’s reputation as one of the most innovative artists of his generation and proved that he was far from being a one-hit wonder after his breakout single “Loser.” The album’s genre-blending approach influenced countless artists across alternative rock, hip-hop, and electronic music. Critically acclaimed upon release, *Odelay* won two Grammy Awards (Best Alternative Music Album and Best Male Rock Vocal Performance for “Where It’s At”) and has since been regarded as one of the greatest albums of the 1990s. Its adventurous spirit encouraged other musicians to experiment with genre fusion and sampling techniques[2][6]. ## **Pros** 1. **Genre Diversity**: The album’s ability to seamlessly blend multiple genres is unparalleled. 2. **Innovative Production**: The Dust Brothers’ use of samples and loops creates a rich sonic landscape. 3. **Timeless Tracks**: Songs like "Devils Haircut," "Where It's At," and "The New Pollution" remain iconic. 4. **Lyrical Depth**: Despite their abstract nature, the lyrics evoke strong imagery and emotions. 5. **Cultural Impact**: *Odelay* redefined what an alternative rock album could be. ## **Cons** 1. **Inaccessibility**: The abstract lyrics and eclectic style may alienate listeners seeking straightforward narratives or cohesive genres. 2. **Aging Elements**: Some tracks or production choices may feel dated compared to contemporary standards. 3. **Inconsistencies**: While most songs are brilliant, tracks like “Minus” or “Derelict” are less engaging compared to standout hits[3][4]. ## **Conclusion** *Odelay* is a masterpiece that captures Beck's creative genius at its peak. Its fusion of genres, innovative production techniques, and surreal lyricism make it an enduring classic that continues to inspire musicians across genres. While its experimental nature may not appeal to everyone, its cultural significance and artistic achievements are undeniable. For fans of boundary-pushing music that challenges conventions while remaining accessible enough to enjoy on multiple levels, *Odelay* is essential listening—a testament to Beck’s ability to turn chaos into cohesion.

que buen álbum, hace un recorrido por varios sonidos y géneros el nivel de producción esta bestia y deja las bases para la música que se haría las siguientes dos décadas

mindfulness...

30 yrs after the 1996 debut, the height of my new found curiousity w ph I had nver heard it in it's entirety.....loved it, way ahead of it's time.

Old classic for me. Good memories.

Loads of fun, great.

This was awesome!!

so good, never gets old, will have this on repeat for the rest of my life

Amazing production. Every song sounds like it's on the same album, even with a ton of different "genres". Awesome mash of folk with a Beastie Boys style of rock and hip hop

Great album, terrible person

I listened to this on repeat when it first came out

Elska Beck þótt hann skuldi okkur tónleika. Mjög weird plata en á góðan hátt. Veist í raun aldrei hverju þú átt að búast við í næsta lagi. Gæti verið tekið upp í einhverjum kjallara í miðbænum. Hrátt, skrítið og töff.

Beck er snillingur. Alltaf frumlegur og með sinn stíl en samt í takt við tíðarandann.

A nice and summery album that feels very at-home in the 1990's.

Such a well constructed album. Love Beck. Love this album.

Next time I'm in LA I'll be listening to this album in stop and go traffic. Really captures the culture

genre: rock pop alternative 90s random. i loved it!

Rad album!!

Really fun and creative album! Pretty all over the place creatively and genre-wise, but in my opinion that doesn’t hurt it. It’s constantly entertaining and inspiring. The Dust Brothers production shows clearly, as many of the songs are reminiscent of the Beastie Boys, in a great way. The album sounds remarkably fresh still, and wouldn’t be out of place if it was released today. The songs are catchy and memorable, with enough dissonance and chaos thrown in to keep you on your toes. Again fun to listen to, and can hear its influence resonating in many indie and alternative albums from the late 90s and 2000s

strange