Recently, I was at karaoke and I watched a drunk man get up, and sing the lyrics from "Never Gonna Give You Up" with "The Hand That Feeds" by Nine Inch Nails as the backing track. He kept a straight face the entire time, breaking maybe once near the end after maybe not realizing how many times the chorus on "Hand" repeats. I kind of feel the same way about this record, it feels like 80s Springsteen with absolutely no filter (especially on "Marlon Brando", where he casually drops the f-slur and, later in the song, muses that maybe he shouldn't be saying that). It's a weird album that constantly finds new ways to shock you (I think my biggest surprise was the lyric that said something along the lines of, "Love never taught me how to vote"). It's an album that makes you want to figure out what the fuck this person is on, or if they're that deep in their persona. The instrumentals fucking slap, too. Genuinely fascinating record. Favorite tracks: "Runnin' Outta Luck", "Studmuffin96"

Boogie. Brash. Like bitters in a cocktail, I get a splash of southern rock, but I love the RnB on display here. The vocals are insane, at one point (the end of "Nightbird" maybe?) made me audibly say "wow". Favorite tracks: "Lady Marmalade", "Are You Lonely?", "You Turn Me On"

Extremely 2004. Like, I can imagine hearing this passing a stage, or stage sitting, at Warped Tour. Reminds me of fellow-genre-vets Atreyu, Thrice, and sounds like it was inspired by the likes of the Misfits and thrash metal. It's solid, and I like the bouncing between clean and screamed vocals, it's a nice dichotomy. The guitars are sharp (as was the style at the time). It's not entirely my bag, but I do appreciate it. Call it a 3.5. Favorite tracks: "Hey, It's Your Funeral Mama", "It Was Fear Of Myself That Made Me Odd"

Yeah, why *wasn't* there any Tool on this list? The band that launched a thousand imitators. I consider myself a pretty casual fan, and it's been a while since I listened to this one, but I'd consider either this or one of the next two ("Lateralus" or "10,000 Days") to be the definitive Tool album. It can get a little weak in spots, but it's got the trademark, mind-bending riffs with some noise and middle eastern influences. Shout out "Die Eier Von Satan", a cookie recipe recited in German over scary music. RIP Bill Hicks. Favorite tracks: "Eulogy", "Forty Six and 2", "Third Eye"

I had a friend who told me this was his favorite artist, and when I realized I'd never heard of him (but had heard of Porcupine Tree), I checked them out. I did not check this album, nor did it particularly pull me in enough to warrant more listens, but now listening to this record, I found myself enjoying it. In parts. Any of the heavier proggy parts, I love. When the record slows down, it's easy to lose track of it. It's clearly steeped in every prog-rock band that came before it, and I think it holds the mantle well, just not entirely my bag. Call it 3.5. Favorite track: "Ancestor"

Extremely 2004. Like, I can imagine hearing this passing a stage, or stage sitting, at Warped Tour. Reminds me of fellow-genre-vets Atreyu, Thrice, and sounds like it was inspired by the likes of the Misfits and thrash metal. It's solid, and I like the bouncing between clean and screamed vocals, it's a nice dichotomy. The guitars are sharp (as was the style at the time). It's not entirely my bag, but I do appreciate it. Call it a 3.5. Favorite tracks: "Hey, It's Your Funeral Mama", "It Was Fear Of Myself That Made Me Odd"

Dutch funk, huh? Honestly sounds like all the radio stations decided to brawl it out and came up with this. Sounds like aliens interpreting human music. I like it. Has notes of Fishbone, P-Funk (I mean, obviously), and maybe some jam-heavy tendencies that would fit in with Phish? I think there's some fat to be trimmed, but it did leave me with a goofy smile on my face throughout. It sounds earnest and like the weirdest house party you'd ever attend. Favorite tracks: "Bonesong", "Love O' My Life"

Yeah, why *wasn't* there any Tool on this list? The band that launched a thousand imitators. I consider myself a pretty casual fan, and it's been a while since I listened to this one, but I'd consider either this or one of the next two ("Lateralus" or "10,000 Days") to be the definitive Tool album. It can get a little weak in spots, but it's got the trademark, mind-bending riffs with some noise and middle eastern influences. Shout out "Die Eier Von Satan", a cookie recipe recited in German over scary music. RIP Bill Hicks. Favorite tracks: "Eulogy", "Forty Six and 2", "Third Eye"

Boogie. Brash. Like bitters in a cocktail, I get a splash of southern rock, but I love the RnB on display here. The vocals are insane, at one point (the end of "Nightbird" maybe?) made me audibly say "wow". Favorite tracks: "Lady Marmalade", "Are You Lonely?", "You Turn Me On"

This album reminds me of the smart-but-unmotivated kid in a classroom: when on task, phenomenal. When not, the results aren't as good. It's interesting that this record takes shifts into hardcore punk ("Kill All The White People") and, weirdly, Madchester-esque-rock ("Set Me On Fire"), but it is at its best when performing the atmospheric, deep-voiced goth-metal it seems to be championed for. Favorite tracks: "Christian Woman", "Bloody Kisses"

A buddy of mine is very into Ty Segall. Never checked him out. Fuzzy with several zs. Occasionally hits some good tunes, but seems more like a quantity over quality type of guy. Shades of The Beatles at their most overdriven, and maybe QOTSA and Uncle Acid. Favorite tracks: "Californian Hills", "Mandy Cream"

Very 80s. Flits between sensual and occasionally recklessly happy (especially the vibe on closer "Tiny Daggers"). Nothing incredible lyrically though nothing terrible, except maybe "Calling All Nations". The early attempt at white-boy-rapping is fun but more of a time capsule ("Mediate"). Not my thing, unfortunately, though I didn't outright hate it when it was on. Favorite tracks: "Devil Inside", "Need You Tonight"

Funny enough, I was wearing my Protomartyr shirt when this was revealed. I'm a fan. This wouldn't have been my pick out of their albums ("The Agent Intellect" would have been) but it's still a solid album. The rhythm section acts as the propulsive engine while the guitars craft appropriate atmosphere for Joe Casey's depressed, drunken scholar ramblings. It's oppressive, dour, and I love it. Favorite tracks: "A Private Understanding", "My Children", "Windsor Hum", "Corpses In Regalia"

Autumnal as all get out. The most pretentious thought I had was "if Florence Welch got really into Pile". I enjoyed it, but feel like it, at certain points, attempted to be more "impressive" than "good", as in "Worth It", where I love individual parts (that outro!) but didn't find it transitioning smoothly. Call it a 3.5. Favorite tracks: "The Bug Collector", "Untitled God Song"

I remember this album getting a ton of praise when it initially came out, around the time I started paying more attention to music and what was being critically acclaimed. I never took time to listen to it, but I think hearing it like this made me enjoy it more. It's struck a fine balance between poppish indie folk and genuine Americana spirit. The songs have movements and feel like they fit together perfectly. Can't say enough nice things about this. Favorite tracks: "I And Love And You", "And It Spread", "Ill With Want"

I'm normally one to not be bothered by vocals too much, but the vocals on this one started to cloy after a while. It doesn't help that the rest of the album is sparse and leaves them a lot of room. I eventually grew used to them, but I wouldn't say it was anything I overwhelmingly enjoyed. Favorite tracks: "Kaitlin", "Bird Has Flown"

I had a friend who told me this was his favorite artist, and when I realized I'd never heard of him (but had heard of Porcupine Tree), I checked them out. I did not check this album, nor did it particularly pull me in enough to warrant more listens, but now listening to this record, I found myself enjoying it. In parts. Any of the heavier proggy parts, I love. When the record slows down, it's easy to lose track of it. It's clearly steeped in every prog-rock band that came before it, and I think it holds the mantle well, just not entirely my bag. Call it 3.5. Favorite track: "Ancestor"

Recently, I was at karaoke and I watched a drunk man get up, and sing the lyrics from "Never Gonna Give You Up" with "The Hand That Feeds" by Nine Inch Nails as the backing track. He kept a straight face the entire time, breaking maybe once near the end after maybe not realizing how many times the chorus on "Hand" repeats. I kind of feel the same way about this record, it feels like 80s Springsteen with absolutely no filter (especially on "Marlon Brando", where he casually drops the f-slur and, later in the song, muses that maybe he shouldn't be saying that). It's a weird album that constantly finds new ways to shock you (I think my biggest surprise was the lyric that said something along the lines of, "Love never taught me how to vote"). It's an album that makes you want to figure out what the fuck this person is on, or if they're that deep in their persona. The instrumentals fucking slap, too. Genuinely fascinating record. Favorite tracks: "Runnin' Outta Luck", "Studmuffin96"

Yet another "how did they not make the original list?" I've always seen BR as more of a singles band, though I like the chances this album takes, especially on a track like "All Good Soldiers". I don't think it feels like a complete album, since the closing track "Skyscraper" (since "Stealth" is just a speech) finishes up and doesn't give any indication that it's the final track. Still, BR is solid, no complaints here. Favorite tracks: "All Good Soldiers", "Modern Day Catastrophists", "American Jesus"

I have a weird relationship with Mr. Don Glover. I do think he's a super talented individual, but I just wish people weren't so quick to fellate him about it. This record has an obvious love for early funk (specifically, I think, P-Funk and anything Bootsy has touched), and while it comes out sounding good, I think it leans a bit too much on the influences. The most popular song ("Redbone") being essentially a clone of "I'd Rather Be With You" is notable. It's solid, I'm just tired of Glover's yowling after a while. Favorite tracks: "Redbone", "Terrified"

An entire album based on the works of Edgar Allen Poe was not on my bingo card, but still a welcome listen. I didn't know what to expect heading in, but I like it. It's a little bit "Tubular Bells", a little bit weird funk, and a little bit movie soundtrack. Neat. Favorite tracks: "The Cask of Amontillado", "Doctor Tarr and Professor Fether"

I bet someone gave The Incredible String Band a five. Jokes aside, this is a super interesting record. It feels both like a wandering minstrel, and someone with access to The Mars Volta (seriously, where does that electronic part come from in "Prostitute"?). I wouldn't have gone out of my way to listen to this otherwise, so I'm glad it's here. A little long, but overall solid. Call it a 3.5. Favorite tracks: "Hob", "Weaver", "Soldier"

Weird, but eventually broke me down. It's sparse, and very uniform throughout. Very British, reminds me a lot of brit pop acts that would come later A little long, could've used some fat trimming. Dude really likes the word "flesh", too. Not anything I'm rushing back to listen to, unfortunately. Favorite tracks: "Clean Steve", "Executioner"

I remember taking this record home from the library, and ripping it to my iTunes to grow my music horde. Never actually listened to it, funny enough. It's beautiful. Sparse, but the vocals and instruments are chosen well. I like the woman singing and feel like she should get more credit for her appearances (her name is Lisa Hannigan, for what it's worth). It's an album I feel like I could give another spin to very shortly after finishing it. Favorite tracks: "Cannonball", "Delicate"

Sigh. I really want to enjoy dub music, and I do for a time, but a full album of it always causes me to stare off into the middle distance by the end. This is clearly a solid album, because I did enjoy listening to it, just not entirely my schtick. Favorite track: "Underground"

Arctic Monkeys have had a fun career trajectory, huh? From garage rock, to an album clearly indebted to Bowie and lounge music. I find this one more of a curiosity, than anything. I was very into early AM, but fell off shortly after the second record, and it's crazy to come back and find them here. It's good, it's just... Nothing spectacular. It does work as space-age lounge music, floating lazily over the anti-gravity cocktails. Don't forget to tip your waitstaff. Favorite track: "One Point Perspective"

Pop sensibilities, as well as the grand, sweeping feeling that comes with neo-prog. Cohesive, and feels like a fully contained work. Call it a 3.5. Favorite tracks: "Gazpacho", "King"

I gave the Garbage debut a 5 on my list, and I think I prefer that one to this one. A few songs just don't stick right with me ("When I Grow Up" is a little too bubblegum for my taste), and I'm not crazy about the songs that interpolate classics (i.e. "Push It" with The Beach Boys, "Sleep Together" with Romeo Void), but the other songs continue the gritty, self-confident pop-industrial sound that I liked so much on the debut. Call it a 3.5. Favorite tracks: "Medication", "Dumb"

I think I'm supposed to say, "I only listen to the Mountain Goats," here. That being said, I've always been a casual fan, enjoying the singles (especially, yes of course, "This Year") but after listening to this, I can understand the hype. It's simple, but clearly very earnest. I've incidentally read one of John Darnielle's novels, and one thing I always appreciated of him was his ability to paint small, Mid/western America with a gorgeous brush. That carries through here. Favorite tracks: "The Best Ever Death Metal Band In Denton", "Balance", "Distant Stations"

To say this is multi-faceted is selling it short. I don't really think I heard one repeat of vocalist, let alone genre throughout. It's impressive, but very all-over-the-place, and my mood for it could change depending on what the song was. That being said, the songs flow into one another in such an impressive way that it feels like it took a lot of planning. Feels like a well-curated DJ mix more than a band. Favorite tracks: "Discosis", "Go Shopping"

Inarguably the most schizophrenic thing I've listened to in quite a while. It's so niche it's crazy. I've been trying to come up with a good metaphor for what it's like to listen to this, where it might flip from low gutteral growls to the fucking Amen break, but I'm at a loss for words. "Interesting" is the only word that repeatedly flashes in my mind. Favorite tracks: "Opus Brain", "Apopathodiaphulatophobie"

Unlike "Awaken, My Love!", which someone else submitted, this one is lead by Glover's rap ability and some banger beats. I don't think it has the strength that the run time would make you think it does, but it does showcase a lot of talent. Favorite tracks: "Sweatpants", "3005", "Zealots Of Stockholm"

I believe it's required I start the review with "Primus sucks". That being said, Primus has always been more of a curiosity to me, a showing of talent over any aspirations at making anything that sounds commercial. It's impressive, but I will admit that it does all kind of blend together, with Les Claypool's bass gymnastics kind of wearing on me a bit. It also somewhat falls apart near the end, feeling more like half-ideas than cohesive songs. Call it a 3.5. Favorite tracks: "Sgt. Baker", "Jerry Was A Racecar Driver", "Tommy The Cat"

This is fucking neat. It's considered Krautrock? I don't hear a lot of the hallmarks I would associate Krautrock with. It's way more driving, a bit more psychedelic. I feel like it probably inspired a band like The Mars Volta, who I'm a huge fan of. Requires some further study. Favorite tracks: "Halluzination Guillotine", "Pale Gallery"

The word my older millennial-ass keeps coming back to is "vibes" and man, if anything has "vibes", it's this. The blending of genres on this thing is impressive, and the whole record slides through in one extremely cohesive burst that it's impressive. It does occasionally fade into background music, but again, the vibes are just too good. Favorite track: "Runaway"

Apocalyptic. Dark. Almost film-score ish. The record plays some hope near the end, though it's not all sunshine, and has a bit of a militaristic feel to it. There's a lot of space, which can be good, but I think it hits dead air a few times. Makes me very interested to listen to the rest of their catalog.

Weirdly, I could place what year this album was from by looking at the band's promo photo. The title and name gave me big 70s vibes, which, after listening, is definitely what they're going for: harmonies that remind me of the Beach Boys, and really swinging for the magnum opus-likes of "Sgt. Pepper's". Occasionally flits into musical theater territory. On a personal level, it reminds me of the band I Fight Dragons if they weren't video-game-dorks and were just regular-dorks. Overall feeling? It's fine. It swings into "bad" territory whenever any of the members try to rap (not that they can't, it's just that it's... earnest but cringe-worthy), and "Banana Man" for being a liiiiittle, well, you know. With all due respect, it makes me think of TV shows like The Office or How I Met Your Mother: twee, adorkable, and maybe just a little too saccharine. Favorite tracks: "Greener", "Just Apathy"

I'm pretty sure even the uncontacted tribes of the world have heard "Blinding Lights" at this point. Admittedly, I was very big into the "Beauty Behind The Madness" record, but fell off quickly after. It's interesting to see the progression, while still being very, very dark ("Faith", my lord). I'll admit I'm not as into the trap sounds of, say, Future that I think this record deals in. I can enjoy a few songs but a full album feels like a lot. Despite that, I do enjoy the overall atmosphere. It does feel aptly named, "After Hours": the party has long turned, it's still dark, but you know that's going to change too. It's a tough call, rating wise. I didn't hate it, but the radio singles are so saturated I don't think I can put enough distance between them to justify a higher rating. Favorite tracks: "Escape From LA", "Heartless", "Repeat After Me"

High energy (high kick! high kick!). I'll admit, I hadn't listened to too much Sparks until watching their documentary (I'm a sucker for Edgar Wright), but I can see why they're one of those bands that is favored by music nerds: these songs aren't "radio friendly", but from the first sequence on "Tryouts For the Human Race", I was hooked. A rare album where I restart it shortly after finishing it. Very fun. I have a minor gripe that the final track doesn't particularly feel "final", it just kind of fades, but it's not enough to keep from really enjoying the record. Favorite tracks: "Tryouts For The Human Race", "Beat The Clock"

The 80s answer to the cock rock likes of Led Zeppelin, AC/DC, and Bad Company. While that sentence reads like I hate this album, I don't. It's fine, solidly performed, just doesn't move the needle too much for me. Favorite tracks: "I Need You", "The Stroke"

I always had a soft spot for Switchfoot. I'm not particularly religious anymore, but they always walked that line between Christian rock without being obnoxiously preachy about it. Plus, that guitar riff from "Meant To Live"? Mm. Choice. I was really loving the first half of this album, but it eventually kind of loses steam, and I think they take a huge swing at guitar-driven pop on "Gone" and the record never really recovers from the folly. Still, I didn't have any song I disliked on side A, and I really enjoy how uplifting and genuine everything is throughout. Call it a 3.5. Favorite tracks: "Meant To Live", "This Is Your Life", "Ammunition", "Dare You To Move"

An interesting one. Very film score (hey, this guy did "Mandy", neat), little doom-ish. Frigid. It's pretty but it does get pulled to the background a little bit. I love the electronic flourishes. Feels very Mike Oldfield or Philip Glass. Solid. Call it a 3.5. Favorite tracks: "Sálfræðingur", ""Ég Heyrði Allt Án Þess Að Hlusta""

I went back and read my review of "Beautiful Freak", since I recognize that this band already had at least one (maybe two?) albums in the book. My opinion hasn't changed all that much: it does remind me of Beck, with the kind of lackadaisical, laid back atmosphere. Lyrically, it's fine? It feels a bit simplistic at times (a la "I Like Birds"). It's a bit twee, and doesn't really leave more of an impression than "90s jangle pop/rock". Favorite tracks: "The Sound Of Fear", "Mr. E's Beautiful Blues"

There really wasn't much emo on this list. "American Idiot"-era Green Day, Drive Like Jehu... It needs more of this. More Jimmy Eat World, Jawbreaker. SDRE is the bridging gap between melodic hardcore and emo, and God bless em for it. Favorite tracks: "48", "In Circles"

This is kind of what I imagine inhabiting Isaac Brock's brain feels like. Crazed. Deranged. Fun, but a little punishing. I think, despite it's short length, it's a lot to take in on one go-around, but I could see myself really growing into this. Favorite tracks: "Nub", "Seasick"

I mean, man, if you know anyone who doesn't jam with this even a little, maybe consider giving them some distance. It's just a pleasant, fun album that gets your feet tapping. Notes of city pop and some maybe some easy listening, just solid grooves. That bridge groove change on "Let Your Feelings Show" is immaculate. Favorite tracks: "In The Stone", "Let Your Feelings Show", "You And I"

Gorgeously produced. Reminds me of Louis Cole, SZA, and seems especially inspired by Stevie Wonder. Neo-soul stuff is, unfortunately, not my particular cup of tea, but you can at least appreciate a well-made record. Favorite tracks: "Spirit 2.0", "Only"

There are albums where, from the first few bars, you know you're going to like it. This album hit me like that. It has the twee-ness of power-pop with some latent darkness. Very, very 90s. I love the guitar tones, the songs are catchy and change it up in great, unexpected ways, and the vocals are just great. No notes. Favorite tracks: "Love Letter Boxes", "How She Lied By Living", "Coming Right Along"

The main thing I take away from this is, "vibes". That's a little dismissive, because it's more than vibes. But at the same time, it's not. There's a really, really cool blend here of things like EDM (a la Deadmau5), 90s R&B, yacht rock... But it all gets put under a strong layer of reverb and gloss. I'm conflicted with this one, because while I enjoyed it, I wouldn't say I had a lot of strong memories about it. I liked it, but I didn't. It's like being dragged into an H&M but finding a cool shirt, in your size, on sale. Does that make sense? Favorite tracks: "Tailwhip", "You Deserve This"

I saw Pitchfork gave this a ridiculously high rating but never checked it out. The vocals, for all their unflashiness, are solid. I appreciate parts of this record, such as when they dip their toes in what sounds a little like Goldfrapp trying to do a folk song ("Blurred View"). Singer Adrianne Lenker's voice sounds familiar, but I genuinely, for the life of me, can't figure out who I'm thinking of. Feels a little Dolores O'Riordan, Gillian Welch, and several singers I've heard on Mountain Stage. It's... fine? I return my earlier comment of "I like parts of it", and certain parts just do not click with me, such as the extremely repetitive "Sparrow". It's a long, long, loooong album at 80 minutes. It's not something I'm going to come back to. Favorite tracks: "Certainty", "Blurred View", "Simulation Swarm"

"Sparse" doesn't even feel like a strong enough word. To find out this was recorded in the mid 00s is surprising, it'd slot right in during the early 80s. Very post-punk. A little samey, and vocally isn't the strongest, but it's not bad by any means. It's just not my thing. Favorite tracks: "I Want Your Love", "Tick Of the Clock"

At certain points, ethereally gorgeous. I think the record stumbles around the midway point ("Blue", specifically) and never quite recovers, though the latter half is good, just not as great as the first three tracks. Call it a 3.5. Favorite tracks: "The Lion's Roar", "Emmylou"

A frustrating album, if anything. Jai Paul clearly has the skill, but man, is it annoying to hear a thirty second snippet of something that's been in the works for a decade. Clearly influenced electronic music, with the likes of Toro Y Moi and Neon Indian springing to mind. Just... needs to get over the finish line. Favorite tracks: "Jasmine", "BTSTU", "Zion Wolf Theme"

Quick, fun story: In high school, someone decided to sing "Your Body Is A Wonderland" to his crush at a dance. It... didn't work. I bet you he still wakes up in a cold sweat from that. I hope he feels okay about it. Anyway. I don't hate John Mayer, but it is frustrating knowing he's a fantastic guitarist that people only know for his pop stuff. Also, that his pop stuff isn't the greatest. This record attempts to tackle some bigger topics (some "Heavier Things", eh?), like on lead single "Waiting On The World to Change", which is fine, if... nothing special, lyrically. Honestly, the best moments on the record are when Mayer flexes his SRV-style, Clapton-style chops. Not every lyric is a clunker, but a good portion of them are. Musically, it gels well. It's well-produced. It's just not changing my world. Favorite tracks: "Vultures", "Slow Dancing In a Burning Room", "Dreaming With a Broken Heart"

A heaping slab of Pink Floyd, Genesis, and Rush thrown into a blender. It's fine, it just doesn't move the needle enough for me. I did enjoy the other Marillion album I got through here. I think the production is the choke point. I was able to get this was mid-to-late 80s from that alone. Favorite tracks: "Waterhole", "Lords Of the Backstage"

I am, in my bones, a pop-punk and emo kid. Dyed in the wool. But I've never particularly gotten the hype for Blink. I did see them perform in 2023 and it was a fun show, but as far as "how they've gotten so big"? Elusive. Being a fan of the genre, I'm aware this was, essentially, the end of their "imperial" era: "Take Off Your Pants" established them as mega stars, this record did well but was generally thought of as lesser, the band disbands. Listening to it now, with the benefit of over twenty years of hindsight, I think I can understand why: this record sounds like Blink matching their peers, maybe sometimes even attempting to keep pace; "Page Avenue" by Story of the Year came out around this, and I feel I can draw parallels to this. Blink takes some swings here and most don't particularly land, the interludes in particular don't feel super necessary. They're at their most fun when they're playing loose, fast skate punk, not playing whatever it is that "Violence" is attempting to be. The record feels very Tom heavy as well. And, as a personal follow up, the +44 record that came out after Blink broke up was, and continues to be, immaculate. Favorite tracks: "Feeling This", "Go"

Death Cab was one of those "one album wonders" for me. I really liked "Plans" but never dug too much further back. Clearly I was doing myself a disservice. The hype around this, for my sad white boy-ness, is completely warranted. Excellent use of dynamics, well performed. Favorite tracks: "We Looked Like Giants", "Transatlanticism", "Title and Registration", "Expo 86", "The Sound of Settling"

Living in Philly, I've heard of The War On Drugs but never given them a spin. Thing one is, holy fuck the production on this is gorgeous. The guitars shimmer, the drums are just the right volume... That being said, the music is... fine. Singer Adam Granduciel sounds like he has a slider, with the ends labeled "Bob Dylan" and "Bruce Springsteen". There's occasionally a dash of Petty in there as well. That's not a knock, I like his voice and the variety it can provide. It's just that the whole record is so subdued that even tracks that you can tell should have a bit more drive suffer because of it. I enjoyed the record, but I think it'd require repeated listens to get the nuances through. Favorite track: "Pain"

I figured this was a mid-90s release, but I'm slightly surprised to find it came out after the turn-of-the-millennium. It's a pleasantly satisfying indie record, with some slacker-ish tendencies. I found myself, weirdly, enjoying every even-numbered track more than the odd-numbered ones. I love the dueling vocals and how they're not mixed to blend together perfectly. Feels like hanging out with your friends who are in a great band. Favorite tracks: "Funeral Dress", "Shunt", "Don't Leave Just Now"

Appears I'm lucky that this album is on my preferred streaming platform. Thanks Tidal. Has a good pulse to it, but I'll admit the slower songs lost me, mostly due to the language barrier. Still enjoyed though. Favorite tracks: "Yamore", "Madan"

I really dislike using the word "medieval" here, but it does have that feel to it. Slow, patient, very heavy on the story telling emphasis. It's gorgeous. I think the speaking parts laced throughout bring it down a bit, but I think it's something you could, with time, grow to not mind. Favorite tracks: "Good Luck Bad Luck", "Undercover"

I actually saw Fontaines DC on the "Joy As An Act of Resistance" tour with Idles. Looking back (a lot longer than I realized), what a lineup. Idles at the height of their power, and Fontaines on the rise. I was impressed with them then, and it's been nice to see them catch so much fire in the releases following. I don't think this is a perfect album by any stretch, there's definitely some fat to trim, but as for debuts go, it's impressive. It may be a bit indebted to the classics: gothic post-punk a la The Cure ("The Lotts"), The Clash ("Sha Sha Sha"). Great writing, great riffs. Favorite tracks: "Hurricane Laughter", "Boys In The Better Land", "Sha Sha Sha"

Yet another glaring omission from the OG list. MF Doom is one of the best to ever do it, and one of the weirdos who make the genre wonderful. Favorite tracks: "Potholderz", "Rap Snitches Knishes"

Bizarre. Just... Bizarre. Over a boom-bap beat and pianos, baritone lead singer Brad Roberts waxes poetic about how a duck knows to fly south for the winter on "How Does a Duck Know?" It's just... Strange. You never know what you're gonna get with this one, but I think I'm good on whatever it's pushing. Favorite track: "Afternoons and Coffeespoons"

Got the shoulders shimmying. It's fun, though a few songs on here feel like sketches, an example being "Love Potion #9", which kind of just trails off to end it. I don't think it's perfect, but it's pleasant while it's on. Favorite tracks: "Whipped Cream", "Tangerine", "Lollipops And Roses"

Hoooo boy I'd love to see people who completed this list, and are unaware of 100 gecs, react to this. It's a lethal dose of radiation from a sentient meme that somehow learned to play pop-punk. I initially didn't "get" 100 gecs, but I later ended up enjoying them cos they're dumb, fun music with great pop sensibilities. You just have to get over the absolute kitchen sink being thrown at you. I enjoyed this, but it may have dipped a bit too much into ska for my liking. Anyone who denies "mememe" being a banger is just not having fun. Favorite tracks: "mememe", "Hollywood Baby", "Doritos and Fritos"

Competently played, well written, but ends up being too smooth and slides right into the background, even when you try to focus on it. Favorite track: "Balls And Pins"

Ambient music, in it's nature, seems difficult to talk about. It's supposed to fill the background and not made to be focused on, correct? If that's the measure, it's good. Light, airy synths breathe over very, very light pulsing kick drums. I find it difficult to discuss further, since that's my entire impression of the project. It did it's job. Favorite track: "Pop 4"

Nothing much to say, just solid, fun funk with a bit of a bite. I was singing "Retrosexy" before it ended. Even the rap verses (which may be a little too numerous) were fun enough to enjoy. It's not perfect by any stretch, but it's damn good. Favorite tracks: "Retrosexy", "Big Dumb Song"

Disco? Mexican music? What sounds like suspiciously like skate/pop-punk? Fucking *industrial*? Yeah, this baby has it all. The singer's voice frequently reminds me of Chris Conley, of emo band Saves The Day, and it does have a bit of a learning curve to get into, but it's very, very fun. Favorite tracks: "La ingrata", "El borrego", "El baile y el salon"

I'll try to keep this brief but it will probably be difficult. "Futures" would be on my desert island disc list, but this is a fucking incredible album in its own right. Band gets kicked off label, and manages to write one of the best emo records of all time, with bonus crossover appeal. I'm, personally, a little tired of "The Middle", but I still enjoy it, and that rollercoaster of a guitar solo, my word. Pure exuberance. The first three tracks (title track "Bleed American", "A Praise Chorus", and "The Middle") might be one of, if not the, best one-two-three in the genre. "Sweetness" has an intense urgency, "Cautioners" a slow-burn gallop, and a song like "The Authority Song" manages to be a wonderful pastiche and an insanely catchy song. Six stars. Ten stars. If you do not fuck with this album, either as a true-blue emo classic or just a phenomenal pop record, dude, how? Favorite tracks: Everything. All of it.

My initial comparison is NOFX, or maybe Less Than Jake: it's got that attitude and speed that comes with a punk record, but with a liberal amount of horns. It was only later in the record that I figured out this wasn't a ska-punk record, but, like, Los Tigres Del Norte punk record. It's fun. Enjoyed thoroughly. Favorite tracks: "Crudelia", "Querida"

Not what I was anticipating. Was completely unaware of this artist prior. It's fine, smokey, slinky jazz and RnB. Didn't really grab me, though it was pleasant enough while it was on. Favorite tracks: "I Defy", "Save Me", "Anyone"

Abrasive, but that's the point. I'd say it sounds "dated", but I think for industrial, that's fine and within the genre specs. It's performed well, crazed, even. I'd say there are probably one too many instrumentals here, but the runtime is short enough to where the record passes over pretty well. There is some pop songwriting throughout that makes the medicine go down easier. Won me over in the end. Favorite tracks: "Descent Into The Inferno", "Enter The Exterminator"

I've had it out for Vampire Weekend (unfairly, admittedly) ever since I worked for GameStop in high school and one of the videos played on the piped-in screens was the first verse and pre-chorus of "A-Punk". Or whichever song. After sitting down and attempting to put my biases aside, I find this record to be an exercise in duality. At certain points, the instrumentation is impressive, pulling of some African rhythms and making them sound easy. On the other side, it dips into Paul Simon pseudo-cod-groove. Lyrically, the same: terrible ("Fake Philly cheesesteak / but she use real toothpaste") to lovely ("Nostalgic for garbage / desperate for time"). I worry that my prior bias still shines through, but I just can't help it, especially when the album comes to a gentle halt immediately following "Cousins". Favorite tracks: "Taxi Cab", "Cousins"

I have seen The Tragically Hip described as "Canada's best-kept secret" and I'll say, I can see why. I enjoyed this, even if you can zero in to the amount of R.E.M. records this band owns (saying that as a fan myself). Vocalist Gord Downie has a light amount of vibrato on his voice that reminds me of Stipe, Adam Duritz (of Counting Crows), and maybe the guys from The Presidents Of the United States of America. I think my only complaint is that I didn't "feel" anything while listening to this: I could objectively call it solid music, but anything after opener "Poets" really didn't hit me as hard. Maybe it requires further study. Favorite tracks: "Poets", "Chagrin Falls", "Membership"

I've got a bad habit of being resistant to things I've heard a lot about. Everyone was talking about Rick and Morty, or Adventure Time, and I avoided giving those things a try because I was tired of hearing how I should give them a try. (I later did. They're fine. Not my thing.) Tame Impala is one of those things. Aside from what I've heard from osmosis, I haven't listened to this one (despite seeing the album cover everywhere). I'm not saying I missed out or anything, but I'm saying... that it didn't matter if I waited or not? I don't think my opinion would've changed heavily if I checked this out earlier. It's produced gorgeously, especially the bass tones. The hooks are sticky. I find myself worn out by singer Kevin Parker's voice; it gets samey by track three and becomes white noise a few tracks later. It's something I can see why people enjoy it, it's just not my personal jam. Favorite tracks: "New Person, Same Old Mistakes", "Let It Happen"

I'll admit, for someone who typically isn't bothered by vocals, it took me a minute to get past the ones on this. It feels like a Norwegian version of Isaac Brock, or the singer from The Hives (whom aren't too far, geographically, I guess). I think what kept me around (and allowed me to get used to the vocals) was the excellent, excellent guitar work, at certain points flashing like Dead Kennedys, with heavy influence of surf rock, and psychobilly. I really got into it in the middle, but it somewhat loses steam at the end. It's still a solid 3.5. Favorite tracks: "Dieter Meyers Inst.", "Christiania", "Delikatessen"

I have a history of being forced to listen to Phish live albums, so I approached this one with the same trepidation you would have calling a family member you didn't want to speak to. I can agree that the members of Phish are incredibly good musicians, but I feel they cross over into the border of "guitar wanking" pretty hard. It's a blur, but there's a track on here that starts out that is, genuinely, technically complex, but doesn't make for actually decent music (in my opinion). I think the live version of "Tweezer" is what everyone who hates jam bands hates about jam bands: it's longer than a sitcom episode (with commercials!), and really could've been wrapped up about eight minutes in. I audibly said, "Oh, fuck off," when I looked at the runtime and found I was eleven minutes in. On the opposite side of the coin, "You Enjoy Myself" is what I can see people enjoy about jam bands: peaks and valleys, but a solid, rising closing to put a nice bow on it. I walk away the same on Phish: the people who are into them are very, very into them, and I am not one of those people. Favorite tracks: "You Enjoy Myself", "Stash"

This album, told through a few stories: Sitting in the car waiting for the bus (since the stop was nowhere near my house), "Welcome To the Black Parade" came on the radio, since it was white hot at the time. My mom, who'd probably heard MCR in passing (I really liked "Three Cheers"), noted, "Wow, this sounds a lot like Queen". I, a 14/15 year-old shit head, was like, "No fucking way." Looking back, of course it does. The anthemic vocals of Gerard Way, the Brian May-esque guitar playing of Ray Toro. Like, obviously the whole record is shooting for something like Queen. It's also got other influences, notably, "Ballroom Blitz" for the emo generation in "House Of Wolves", and the cock-rawk school shooter anthem that is "Teenagers", but it drapes them all in a black Thursday shirt and makes them their own. There was a girl, at the time, who I didn't realize was into me (we were all teenagers once). I hopped on AIM, after school, after she burned me a copy of this record, and she asked me what I thought. I had listened to it once through, and gave her an honest review of "Eh, about a 3.5/5." She promptly logged off and did not talk to me again. For real! Sorry Kelly Rose. Time and distance has shown me: you don't get an album that turns an entire genre on its head every day, and you're absolutely right. Hope you're doing well. Favorite tracks: "Famous Last Words", "Welcome To the Black Parade", "Dead!"