1001 Albums Summary

Well played and well executed, but it's all a bit too much 'middle-of-the-road alt rock' for me. I miss the sharper edges and would like to hear some more emotion in the delivery. I'm sure this was all the rage back when it came out, but it doesn't really stand out from the many many other early 2000's rock bands.

Lovely upbeat and enjoyable record!

Not bad. Not great either. Perhaps I'm missing something which would rank this among the more brilliant efforts from Artctic Monkeys, but I basically hear one single song of 40 minutes and 57 seconds.

This was surprisingly fresh and melodic. Something I'd never heard before and an artist I'm not familiar with at all. Will listen to this more often - thanks for the suggestion!

Riding high on my post-Nirvana obsession, I ofcourse had to get Garbage's debut album. Anything somehow related to Nirvana was a must to dive into (even if it was only the producer of Nevermind, who apparently could play drums). The debut album was actually quite good! Then a few years later version 2.0 came along. Again, quite good, but not as fresh and new as the debut album. More of the same: catchy tunes, great vocals and all-in-all a 'decent' record. Then years went by and somehow I never revisited it after those initial few spins when it came out. It didn't 'stick'. Hearing it again now brings back fond memories, but this will most likely be the last time I will ever listen to this record in it's entirety.

Status "If you are good at one thing, and enjoy doing it, why the hell not keep doing it" Quo. Again, I'm reminded of how well suited this bands' name is. Instantly recognizable riffs and sound, be it very poished and sanding off any potential sharp edge. They nearly surprised me with track 4 - 'Unspoken Words'. An almost late-Beatlesque bluesy mid-tempo song which I find a lot more interesting than the rest of the tracks on this album. Throw in an obligatory Doors cover, and we're done here.

Like a Perpetuum mobile, this keeps on going and going and going - never loosing any energy or momentum. Pretty impressive!

Wow, the first single off this album has over 4 billion streams on Spotify since it came out in 2020! That is truely impressive. And with my exposure to The Weekend being limited to only a few radio-hits (among which Blinding Lights) I had some good hopes that the rest of this album would also be packed in that lovely 80's poppy-synth sound. Too bad though. I'm probably too old to 'understand' this, but this album is driving me nuts. In a bad way. Very well produced and catchy, but oily slik, falsetto wining and awfully bland lyrics. With the chance of insulting a whole generation: I'll skip the Weekend and will go right into Monday.

I really wish I was more open-minded when it comes to musical genres that live in the more outer regions of the musical spectrum. I would really love to actually 'get' music like Cluster's. But I don't. I can't wrap my head around why this would be even remotely interesting for anyone to listen to. Luckily there are many people that do 'get' this. Makes life a lot less plain and boring. But still, to me this sounds like endless noodling on electronic switch-boards. I envy those that hear actual music in this.

Didn't know they were from Sweden. Typically not the country you'd expect to produce a country-folkish duo with (at least to me) pretty convincing Southern US accents. (I'm not from either of these countries so I'm probably way off on both my observations). Overall I'm not the biggest country and folk fan, but this I can actually appreciate. Lovely harmonies.

Mayers music will go with almost any mood. It basically blends in with whatever it is you are doing. Pleasant to the ear and yet pushing no boundary whatsoever. The guy has a good voice: yes. The guy can play guitar: yes. Does he play it on the safe side? Oh yes.

Great as a mellow backdrop when I'm working, or when I'm having trouble sleeping. But other than that it's not all that exciting.

My brother had this album on CD back when we were young. I couldn't stand it back then, and still can't. I don't care whether or not they are consiously being tongue-in-cheek with their sound and lyrics; it still sounds like a band that is massively constipated.

Phish workflow breakdown: Step 1: Strap on guitars and go wild: Wiiieeee wieeeeeeehhh, widily widily wieeeeehhhhh! Step 2: Repeat until timestamp of 2 hr 11 min has been reached. Step 3: Job well done. Step 4: Move on.

Disco, Jazz and Soul.... sorry, not my cup of tea.

I think the original list is already over-saturated with Zappa. Many - if not all - of those albums were for me unlistenable gibberish. (I know, I know, for some people it's like I'm insulting the pope by saying this). The album suggested here is actually quite listenable. And even somewhat interesting. So thank you for showing me that there is some Zappa that I can digest with little effort.

Probably a big deal when you're into country, but not something I can get excited about.

This was a very pleasant listening experience. Oh so dreamy, and a lovely voice.

Awesome! Start to finish a great album. It might appear to be 'just a pop record' but there's a lot more going on here (at least I think so ☺️)

It's interesting how diverse musical tastes are. And that's a good thing! If everyone would just like everything equally, it would be a very very boring world. So if you're into Jellyfish: awesome! For me it was a huge struggle to make it through to the last track. I think it sounds like a half-decent attempt at trying to be like Queen. And I don't like Queen. So a half-decent Queen doesn't do it at all for me. Sorry.

Never heard of this band before. Decent record, but nothing for me to get too excited about.

Not really sure what to make of this. It didn't annoy me, that's at least something. It was just 'there' and when it was done it wasn't there anymore.

I do admire wat Kevin Parker is capable of producing. Some really catchy ear-worm on this album. But apart from those, the other songs tend to be too much on the mellow side for my taste. The previous two Tame Impala records had more edge and urgency to them. Here it all seems to blend into one big sunny festival soundscape.

TooL is just freaking awesome. I understand that it's not everyone's cup of tea, and I understand that many people might find it pretentious nobish music, but I can rock to this ANY day. One of the best live acts I've ever seen, and Ænima will always be my go-to TooL album.

That was pretty nice. Great vocalist, and overall good songs.

A few stand-out tracks, and I like the quiet vibe presented here. But 45 minutes of the same quiet vibe without really that much different things going on is a bit much.

A few interesting tunes, but the majority just gets on my nerves.

Lovely minimalistic approach and some very sweet melodies. The vocals harmonies are just perfect. Nice one!

That surely was a blast of energy!

Some nice tracks, and I like the reverby-sound. But all-in-all nothing to really get excited about.

This made me think of that Tarantino/Rodriguez movie From Dusk Till Dawn. But after having heard this album I'm way more inclined to go watch that movie again, than listining to this album ever again.

Should be an easy 5 stars from me, as this is one of the main genres I get my kicks from. But somehow, despite so many rave reviews, this band never appealed to me that much. I usually like a-typical vocals, but here it somehow doesn't resonate. (or maybe it resonates too much?)

Never been a big punk fan. And this album didn't change that.

I do appreciate the slick pop-album from time to time. And that is exactly what this is. Will it change my world? Bring me insights into new musical realms? Trigger me emotionally? No. It doesn't do any of these things. Should it, to be enjoyable? No, it shouldn't. It is just a well done album with plenty earworms on it. Job well done.

Eels' music has never been something that really grabbed me. I understand that it's good, but I just don't feel it. I can listen to this and actually enjoy it, but it doesn't stick with me.

I'm always on board for some 60's psychedelica. Something about the sound of these bands that instantly grabs me. If I could play bass - this would be my sound. This is a band I'd never ever heard of, but they do what they do well. Not much I haven't heard already from other bands from that era, but still a very pleasant listen. Thanks for introducing me to Elmer G!

The music from the 80's for me itsn't by definition a lost era. There's still a lot of really cool stuff that originated in the 80's. It might border on guilty pleasure or pure nostaliga, but still it can have its charm. Sparks is a difficult one though. This album has its moments, but also some cringeworthy bits and pieces. In the end it balances out to the positive: 3/5

It is definitely a very unique, instant recognizable sound. I should listen to this more often to actually get into it more. For now, I'm starting with 3/5 stars.

The funky rithms and grooves I can dig. But why on earth do a cover of the Beatles' We Can Work It Out? Beatles catalogue is not intended to be funked with.

This shouldn't have worked. Ben Gibbard, with his talent for catchy tunes and great vocal lines, doing his thing against a backtrack of bleeps and bloops and Super Mario style electronics. But it works. It really works! I remember the first time I head this album, shortly after it came out. I was immediately sucked into this nerdy-but-cool world. And I'm still there. Excellent record!

Nice and upbeat album.

I can hear the link with Brandon Flowers. Unfortunately not the Brandon Flowers from the Killers' debut album. No, this gives me the same cringeworthy feeling as "Are we human or Are we Dancer?". A song which almost drives me to puncture my eardrums. Alex Cameron isn't _that_ bad, but still this doesn't do anything for me.

This is too neat and clean mor my taste. Steven Wilson is being music's equivalent of that annoying OCD neighbour who manages to have his garden pristine on every day of the year. Not a single piece of weed or dirt - no room for some wild out of bounds things that might appear if you give them room. Musically it's all very well done, but with all the wrinkles professionally ironed out, it's fails to actually grab me. I like to actually be in my garden, not look at it from inside the house.

Not really a disco-kinda-guy, but still I must say that this is some timeless music. Very well done.

Those first couple of Blink-182 albums were never my thing. Or as my 20ish year old self would say at that time: "Two demensional skate punk." With that I wrote them off completely and never got to hearing any of the later albums. And that turns out to be a pity! This particular album is actually pretty enjoyable. More emo-ish and musically there's a whole lot more to get from this one. From the wiki page: "the album has been described as darker and more mature than the band's earlier work." I think that sums it up for me, and also why it is much more appealing to me than their earlier efforts.

I think this album has all the elements that make DMB's music so instantly recognizable. It showcases his ability to write catchy songs, incorporating different musical styles while making it sound effortless. Nice one!

I am aware that if I say this I will come off as a spoiled brad, unworthy of calling myself a music-lover, but I'm gonna say it anyway: This was just aweful. I recon that in the 20's this must have been groundbreaking, leaving everyone who heard Armstrong play in awe. But when I hear this, my musically narrow minded brain can't get past the image of Laurel & Hardy goofing around. This one just isn't for me, sorry.

Pleasant to the ear, but instantly forgettable. I know of more interesting artists in this genre.

Sorry Ty, but that was far from your best effort. I've heard you do way better things than this album

I think I should start with LSD, to fully comprehend what is going on here. This is from a reality that I am not part of.

The Sports had untill today never before crossed my path, but I immediately like their sound. Elvis Costello meets Joe Jackson. Maybe not as memorable, yet still an enjoyable listen.

This actually was a very entertaining listening experience! Musically probably not very groundbreaking, and I know of bands that do this even better, but this sound immediately hit my musical sweet-spot. "Gonna walk around and drink some more!" Heck yeah!

Yes, they are from my home-country, and yes, they do have some catchy and funky tunes. But they were never really my thing back in the day. It is a pretty enjoyable album though, I must say.

Blink-182 and me will never be best friends. But I have to say that after actually listening to this properly, they climbed a notch on the friendship ladder. Instead of being long lost high-school classmates who ignored each other during the entirety of the high-school years, we are now actually on speaking terms. I now see us having a beer together from time to time. Nothing fancy, and only when they do bring plenty of snacks to go with the beers.

Gotta love that thick Irish accent! I know I do. Although this isn't their strongest album (I like the two that came after even more) this debut album already showed the signs of what was to come next.

This was a really interesting listen! Never heard of this artist before, and judging from the wikipedia page, the reason why this remains SOPHIE's only album is pretty tragic: Sophie had been taken to the hospital after accidentally falling three storeys (approximately 42 feet or 13 metres) from the rooftop of a building while attempting to take a picture of the full moon. Very creative and maybe even too much ideas crammed into a single album. Some songs had a Aphex Twin vibe, which is not a bad thing at all!

Dude really masters putting together some very catchy tunes and a stage persona to go with it.

Great band! Dark and strange, eerie and unnerving. Catchy hooks and never cliche. And that bass, that bass!

Is this a serious attempt? At what, would be my second question. I think Monthy Python at their most sarcastic would have been able to still do a more satisfying folk album than this one.

Woah! That was quite the ride! Great energy and I just love how well the live sound is captured in this recording.

Not my genre and frankly not much going on here, sorry.

Although folk is not really my cup of (herbal) tea, I do like the sound this band manages to create. It however doesn't really appeal to me, but that's just personal taste.

This was pretty laid-back, and provided a nice backdrop during my work.

I understand that so many people adore Bruce Springsteen. I like quite some of his music as well. Some I even think is véry good. But listening to a 2 hour+ concert is just too much. The only way that such a long concert actually adds something to the whole Springsteen-experience, is by being there in the crowd as it's happening.

This was just the perfect companion to my lazy Saterday morning start-up. Minimalistic yet soothing and with subtle electronics woven into it. Not something that otherwise would have crossed my path, so thanks!

This didn't do it for me.

Not really sure what to make of this. Pleasant during work, but not a single moment where I was actually pulled in.

This had quite some elements that a like. Could have been a bit more outspoken as the second half of the album not as exciting as the first. But all-in-all an enjoyable listen.

The beauty of what music can do. How it can 'click' with you on many levels at just the right time in your life. I was 18 when this came out and they nailed it for me. They are part of the group of bands that turned out to be my earliest stepping stones into the world of alternative music. And that journey is far from over. That's what this album means to me. While I totally get that for others this may sound like a very average maybe even boring album (thanks for the person who wrote the review about wanting to play this to 'a grandmother or a sick dog'. That cracked me up and made my day 😄). To me, The Posies just hit all my musical sweet spots wiith every song they produce. The vocal hamonies, the reverb-guitar sound, the bubbly baselines, that 90's drum sound. I can listen to this every day and never get bored with it. So I just had to put it on this addendum list. Hope it 'clicked' with someone else as well 😊.

Not bad at all!

Musical taste will always be a subjective thing. Someone's opinion or taste should be treated as nothing more than that. And for this particular record all I have to say is: it is pathetic. This just sounds fake to me. It has no soul. It is a gimmick. It lacks basically eveything that I look for in music. To those who can really enjoy this: more power to you. I'll pass.

Musically I can appreciate the energy and drive this band manages to create. But these screaming vocals are just aweful. I know of several other bands that work according to this M.O. and they all annoy me tremendously. There is literally never a moment I would want to listen to this.

What a banger! And a crime this wasn't in the original list. One of my favorite albums of all time with only excellent and catchy songs. The layered guitar sound just gives me goosebumps everytime. A shame that after Matt Sharp left the band, Rivers took the Weezer sound to a more and more cliché sounding rock-band with each consecutive album they released. Everything that came after the first two albums lacks the actual drive, energy and urgency that made this debut and Pinkerton such perfect albums.

This literally doesn't tickle any of my bones.

For me, this is right there in the arty-farty corner with Frank Zappa and Captain Beefheart. Acts I both don't care for very much. That Handsome Devil actually do a good job of sounding like a 'wannabe' Zappa/Beefheart. Annoying.

This started out pretty good, but slowly blended into a not so distinct backdrop during my work. Not bad, but I would have to listen to this a few more times before it would potentially find more room to nest inside my brain.

This was a pleasant listening experience.

These are some looooong songs! Beautifully built up, but loooooong.

Decent execution of the template 80's influenced Rock, but brought absolutely nothing new to my speakers.

Man this album was something, when it came out. It was hard, it was weird, it had bagpipes (!) and it was appealing for all those alternative kids (me being one!) to go creazy on the dancefloor on saturday night. And that's basically what this album still is for me: Memories. Where I was and with whom, when we used to play this on the boombox at full volume. Musically however, I've moved on. Still a fun listen to revisit, but that's about it.....although some of these track still rock HARD! :-)

Over the course of the last 2 weeks I have revisited this album 3 times. I just could not get a good grasp of it. And I think I still cannot put my finger on this. I liked what I heard as it brings a fresh take on different genres I like, and they bled together pretty nicely. Nice pick of a band that I would othersise have totally missed.

Kayleigh will for me alway have that nostalgic break-up song vibe. It struck a nerve when I first heard it, and still does. Rest of the album I'd never heard before, and what do you know? It turns out to be a pretty decent Genesis-like album. (Which for me is a good thing!) Totally different from what I'd expected based on Kayleigh.

This had some potential but still ended up on the 'meh'-side of things.

I actually think there is nothing in this album that I actually like. It sounds hopelessly out-dated and cheesy. The lyrics are distracting and weird in a wrong way. For me, a total miss-hit.

Hmm, vocals don't always have to be in tune for music to still 'work'. But in this case for me it doesn't work. Does remind me of a somewhat mellow version of Dead Moon, although Dead Moon does work for me.

Not a bad record, but totally mediocre and not any different from all those British 00's bands that tried to sound like Arctic Monkeys.

Obviously, very Pink Floydish in sound and execution. But somehow it lacks the urgency of what Rogers was able to create together with Pink Floyd. This album definitely has it's moments (the title track can easily compete with late-era Floyd) but there's just too many so-so tracks that have a tendency to drift off into mediocrity.

With an album title like this, my expectations already drop significantly. Whomever thought they were being funny and clever when they came up with this deserves a spanking. Musically, there's also not much to like here. Annoying.

I just love this album. Listened to it so many times when it came out and it still hasn't lost any of its drive and urgency. Just the right blend of rocky-hooky songs with a slik production. Not a bad song on this album. These guys were on fire when they made this!

I think I'm getting too old to still 'get' this.

Pretty good!

I found this remarkably boring.

Gave it a couple of listens, and must say that it was quite pleasing.

Primus - You either love it or loathe it. I definitely love these weirdos!. They can rock, are very skilled and creative musicians, and have the ability to be clever and funny without becoming cheesy. One could challenge my sense of humor, but I'll take Primus over any of those pretentious poser-bands out there (you know who you are, you damn posing tweekers!).

Never heard of Marcus King nor his band before, but he didn't disappoint! Really pleasant album.

This was an absolute treat! Completely unknown to me, yet sounding oh so familiar. If you're into Led Zeppelin like me, this is a sure shot. Impressive how Billy is able to almost reach Led Zep levels, yet not make it sound like a cheesy coverband. I will be revisiting this one for sure. Multiple times. Thanks so much for bringing this one to this list!

Those vocals sounded like they were recorded at a bachelor party that ended up in a Karaoke bar. And for that matter, so did the music.

Never been a fan. This album doesn't change that. Is this even a different album than the one that was on the original list? They all sound the same to me.

Heard of Savages but never actually listened to one of their albums before. And boy did I miss out! This is a really strong set of songs, delivered with such drive and energy. It's dark, it's weird, sometimes a bit too weird, but somehow it always comes back to great catchy hooks and riffs. I'm gonna save this one to my favorites list!

One of my all time faves. So impressive how Ben Gibbart is able to add lyrics about everyday but oh-so recognizable topics to each of these songs. It just clicks on so many levels. Familiar in a way like you were actually friends with this guy back in highschool, eperiencing the same things, dealing with the same trivial issues. Death Cab are also one of the most solid live acts I've seen in my life. Easy 5 stars for this one.

These guys have a lot to tell. 1 hour and 40 minutes worth of stuff. Stuff that doesn't really interest me that much.

Opening your album with the phrase: 'You were a Nazi-hunter' already earns extra points. And the rest of this album also doesn't disappoint! Always like these voice-over-type vocalists. And it fits the mood of the music perfectly. The lyrics could have easily ended up on the wrong side of cheesyness, but they work for me. Nice find!

Wasn't bad, wasn't great either. But I did enjoy it enough to give Kano 3 stars. Hope he can appreciate this kind gesture.

Holy crap.....I don't say this often but this was really aweful! On many levels, aweful. The music is boring and bland. The singing is boring and bland. But the icing on this rotten cake is the corniness of the lyrics. This is the guy at a party who thinks he is being funny and clever. Who thinks everyone loves him. The shining center of the gathering. While actually everyone is just trying to get away from him, running to the fridge for another beer. Unbearable.

Really? Seriously....

Musically this was pretty ok, but those whiny vocals really got on my nerves.

I think this album would have been a way better fit for the original list than some of the same-genre ones that were included. A pleasant listen.

That Albini-sound is basically the sound of my youth. Those instantly recognizable drums and distorted guitars. If it's Albini-produced it usually ends up pretty high on my enjoyment-meter. Jesus Lizard is no exception although I always struggle to get through an entire album in one sitting. They have all elements that I like in a heavy rock band, but deliver it with such a heavy punch that I end up on the ropes, holding on for dear life. But from time to time I can handle and actually like this kind of sonic-ass-kicking. "Don't get me wrong, he's a nice guy, I like him just fine.....But he's a mouth breather" 🤘

A lot of f*ck, sh*t, b*tch going on here but I fail to see the relevance of this album. Sorry.

I can actually not think of any moment during my waking hours where I would like to listen to this album. This one doesn't resonate with me on any level, at all. I do however 'get' that many people would be into it. So giving it 1 star is not to judge the quality or the people that do love this - it's just me not being able to sync with it.

I understand better now why preferably enormous amounts of weed are required to sit through albums like this in their entirety. My God, this just goes on-and-on-and-on-and-on-and-on-and-on-and-on.

Love this record. Quirky and fun.

Too heavy on the Jazz front for my liking.

It's starts out with some highly energetic songs with a bit of 'Springsteen meets Gaslight Anthem' vibe. Like that a lot! Album is a little on the long side, and halfway it sinks more and more into songs that are nice to the ear yet lack a true hook or edge. 3 starts nonetheless.

Slik and very poppy. Not bad but nothing to get too excited about.

Not bad. But nothing I haven't heard for instance Elvis Costello do better. Still, it was nice to cross paths with Graham.

I can see American Psycho's Patrick Bateman dance to this.

Excellent album cover! The music itself is not so much something I can get too enthusiastic about. Sounds too much like I'm spending time in a vintage theme park.

Damn, I think I lost all glazing from my teeth.... Bold suggestion, but an album I would never ever voluntarily listen to.

Never been a big fan of this old-school prog rock. And this album is not going to change that.

Pleasant listen.

Great choice for the extended list. Love this band.

This has it's moments, but mostly moments that made my right eyebrow raise.

Some nice tunes but a little too heavy on the samples.

I really like the sound of this band. Works for me on almost all occasions. This album - however it still being pretty good - I do not consider as their strongest output. The earlier albums had some more edge to them. This album is a more middle-of-the-road version of the War on Drugs.

This was a pleasant surprise! First time DiFranco listener and this is right up my alley. Diverse, original, passionate and weird. Great album!

There were some nice, a little more old-school hip-hop tracks, but overall this album didn't age all that well.

Pleasant as background music during work.

if you look up 'the 80's' on Wikipedia, I think it might redirect you to Nik Kershaw's page. I think this ticks all the boxes on what the 80's sounded like musically. Quite a good vocalist, some catchy hit singles I remember from back then, and also a little bit of an edge here and there. Not all that bad actually.

Not my thing, but giving it 2 stars doesn't seem right either. I recognize that this is very well done, but it just doesn't appeal to me. Oh well...

Great record in a genre that I really like. Big fuzzy guitars building on top of each other. I have other bands from the same genre that I typically pick over Hum, but now and then I do like to revisit their catalogue.

Solid 5 stars. Damien's music goes straight to my heart. On all levels it works for me. The mood, the sombre atmosphere, and his attitude. Very difficult to comprehend, yet somehow very recognizable. This debut album has him collaborating with the brilliant Lisa Hannigan and their voices just blend so beautifully. One of my most memorable concert experiences was seeing Damien Rice playing a solo set on an outdoor stage in the evening, with rain pooring down. Just perfect.

Okay, this was something really different from what I typically listen to. I might have to give a few extra spins to better grasp what it is that is exactly happening here, but on first listen it was already very interesting.

I like lo-fi. Making it seem that anyone (even me) could do this in their own bedroom. Were it only that simple. his goes to show that if you have good songs, with good melodies, hooks and vocal lines, you don't need a big band studio production to make it stand out. Although the minimalistic approach does tend to get a bit boring after 10 or-so tracks, it was still a very enjoyable listen.

This was charming and quite nice. But for me it misses that 'extra twist' that for instance Feist is able to bring to her music.

Yikes, over an hour's worth of this fuzzy, weird soundscape noise? That's a bit much for my taste. I do appreciate this being something completely outside any mainstream easy-to-digest genre, but in all honesty I think this serves only a very minor niche of music-lovers.

Why?

"'Cause if God made us all in his image, Then God's a fucking nerd." Lyrics like that do earn extra points, I must say. But all-in-all I don't find it a very remarkable album in the indie-folk genre. Enjoyable, but that's about it.

Mogwai is not a fast-food dish. I've tried for years to actually 'get' this, and I still can't fully embrace it. I WANT to love this band, and listening to the fantastic closing track of this album (Mogwai Fear Satan) I again wonder why many of their other songs do not have the same effect on me. I have yet to find the key that fully unlocks Mogwai for me. I will keep trying.

This is one of those albums that holds a special place in my heart. It opened up new doors and led me down some musical paths I would otherwise never have. Me and the small goup of my music-loving friends all fell madly in love with this album when it came out, and every Sunny Day Real Estate album that followed it. We idolized them. Jeremy Enigk was a God for us. His unique and instantly recognizable vocals always give me goosebumps and tell me that something special is happening - special to me anyway. Always has been and always will be.

This album is just THAT good. Fragile, layered, straight to the heart. For me, Simulation Swarm is the beating heart, with the other tracks swirling and weaving themselves around it. Just incredible.

I found this remarkably refreshing and highly original! The unfinished/demo status of these songs actually adds to the overal quality of this album. It sounds so fresh, so free. A huge burst of creativity caught on tape, which miraculously transforms into a solid cohesive musical statement. Thanks for bringing this to this list!

Ehm, yeah. Musically I can appreciate this to a certain extent. But these kind of vocals I have never been able to connect with. And with the risk of insulting many metal-core lovers, I even find it all a bit pathetic.

Lovely soothing sounds that make for a perfect soundtrack while I'm working. Songs tend to blend into one another, but still it's never dull or or uninspired. It has an uplifting vibe to it which I can listen to at basically any moment of the day.

This one I don't really hear what's so special about it, but that's probably because this is a genre that am not particulary fond of. So the two stars is purely from my perspective and in no way a stab at what this album means to whoever submitted it.

I thought those female vocals sounded familiar and after some research I learn that she is also part of Broken Social Scene! That set's the bar a little higher for Stars, but I think they did a pretty good job of putting an album of good indie-pop songs together.

Trying to be respectful, but that's almost impossible if the subject at hand is ska-punk. I really can't stand this for more than 5 seconds. Sorry.

A duplicate entry on this user list. I'll copy-paste the review I gave the initial entry: This actually was a very entertaining listening experience! Musically probably not very groundbreaking, and I know of bands that do this even better, but this sound immediately hit my musical sweet-spot. "Gonna walk around and drink some more!" Heck yeah!

This is an absolute gem of a record. Each song is delivered with such a burst of energy that it's hard not to break out my air-guitar. For me this album hits that absolute sweet spot of incredibly catchy songs, great riffs, vocals that blend in perfectly and a slick but not overly produced sound. And literally not a single filler track. Over the years I've tried several of their other records but none live up to what this band put together on Bleed American. Their absolute peak of creativity as far as I am concerned.

Nah, this doesn't work for me anymore. Too dated. And because of those very prominent nosey-sounding vocals, all tracks seem to sound the same to me.

Musically I could very much appreciate this, but the vocal style kind of ruins it for me.

When this came out it pissed me off to a level that until then music had not yet pissed me off before. Not sure why exactly, it just pissed me off. Still does.

This was something completely new to me, and it was pretty nice actually.

Slow and depressing. How I like 'em.

That's Pink Floyd alright - looooong, eloquent, somewhat pretentious and very skilled. But does that automatically deserve 5 stars? Or 4 even? Nah.

This was actually quite pleasant. Groovy and funky and some nice beats and riffs. Something I'd never heard of before, but a nice surprise.

A classic from the 90's. Patton always delivers vocally. Very impressive.

This had it's moment where I was like: ok! This is taking off on a promising path! But each time they managed to bring it back to a sort of Disney-on-Ice type alternative rock opera.

😐 "I think I'm too old to get this" - said the boomer.

Kill me now.

There are quite some decent songs on this album, but all-in-all I think there are quite some bands that execute this genre better.

This could use some more power and drive. A bit too fluffy for me.

This wasn't all that good. Sounded too much like B52's. And I really don't like B52's. So there's that.

Get fucked? Me? You get fucked. I fuckin' hate this old school-sounding punk rock. Ability to play 3 power-chords on a guitar doesn't make you a musician. Evidently.

I've only discovered this band a couple of years ago. Like their 1980 album better than this one, but From The Lions Mouth also delivers! Great band, and (what's in a name) great sound.

Although it's a tragic story how Avicii ended, the music already sounds dated and not something that will stand the test of time.

Maybe they should have kept it with playing ping pong. This is just annoying.

Christ almighty..... no. Just no. Not for me. Will never be for me.

Those first 5 or 6 Tori Amos albums are absolutely amazing. Linked to a period in my life that I look back on with so much good memories. And Tori was there alongside me, with her voice that touched me time and time again. I have a hard time picking my favorite album but this one come close. Very very close.

This started out pretty promising. Lots of energy and fun hooks. But towards the end it went to much into a ska-punky-vibe for my taste. Still pretty decent album.

The metal parts were a bit too much for me. But there were quite some beautifully arranged more melodic parts in this as well.

Nothing bad to say about this, but also not very memorable. It comes and goes. 2 hours is a bit long though.

Lovely grungy guitars and powerful edgy vocals. What's there not to love?

I can appreciate lots of heavier rock oriented bands, but this particular guitar sound I find absolutely horrible. Technically very well executed but the sound is so aweful. Combine that with a vocalist who clearly suffers from bowel-obstruction, judging from the way he delivers his lines, and that's a clear "Nah, not for me". Would prefer to not rate it at all, to not affect the overall score, but alas.

This had way more in it than I thought after hearing the first few seconds of the first track. Great production and love the energy that is captured in every song. Not something I would listen to normally, but a pleasant surprise.

I do like this sound and the passion and energy you can hear in this live recording.

This album isn't even a year old and what a comeback for these guys! I had absolutely no expectation when a new Cure album was announced but when it finally appeared, I was hooked instantly. Robert Smith sounds like he is still in his 20's; So powerfull and with so much emotion that it gives me goodbumps again and again. My favorite album of 2024.

Spotify indicated this to be from 2013. On Google I find that this album was actuall released in 1980, so at least it's authentic 80's rock sound and not a knock-off. still, I can't really connect to it. It has it's moments, and isn't all that bad, but I'm not inclined to revisit this anytime soon.

I find this one a bit meh. I know of way better Teenage Fanclub albums than this one.

No. Just f-in' no. Combining punk with ska should be a punishable crime. Let them play this shit in the prison shower, where 500-pound inmate Dave will 'accidentally' drop the soap.

Well executed but stays too much on the safe side to really pull me in.

I shouldn't rate this as it's totally not hitting any of my musical sweet spots. 31 tracks of old school punk, going on that same monotone drum riff. Nah, this is not something I feel I need to hear before I die.

I didn't mind listening to this, although it didn't bring me that much either. It has that Bob Mould signature layered guitar sound, but somehow for this album it kinda falls flat. And that dull repetitive drum machine doesn't help in lighting the spark for this one. I know Bob Mould (related) albums that are way more adventurous and edgy. This one came and went.

Iggy is ofcourse a hero and Godfather of lots and lots of rock bands that followed his. It must have been a thrill to have been there for a concert like this. But listening to it through headphones somehow it doesn't land for me. The mix is pretty aweful - Iggy's voice is louder than the entire backing-band combined.

They did pay attention in Indie-Kindergarten, when the colouring books were handed out and they were taught to put effort into staying inside the lines. it should look 'neat and tidy'. No scribbling, no freestyling. Nothing unexpected since teacher already has a hard enough time battling the hangover from the weekend. "Please kids, just use 3 or 4 different colour pencils max, preferably the lighter colours as those give less strain to teachers' eyes, when teacher has to grade your colouring efforts..... And yes Margot, you can go to the bathroom."

Is this Heavy Metal's Spinal Tap? All cliches tickmarked: - Stupid-ass band name? check! - Album cover with flames, cast-iron band logo and "cool" band pose? check! - Parental Adivisory sticker? check! - Singer that sounds constipated? check! Ughh....🙄

Musically this has the potential to be a great album. I like the unpolished production and it often veers off in unexpected directions. But those vocals..... vocals can make or break an album for me. And here they really ruin things completely. It just doesn't work for me at all.

What a breath of fresh air! And great proposal for the extended list. I very much enjoy the energy and clever songwriting.

They sound like they take themselves _very_ seriously! Every little riff and drum-fill is delivered with such a vibe of utter importance. And I think that's the main reason why this doesn't work for me _at all_. Cringeworthy. The genre isn't anywhere near what I enjoy in music, and I think combining Gothic with Symphonics and Metal earn you a VIP spot at the next Comic Con Cosplay contest anyway. But besides all that I just find it so very difficult to digest as a serious musical effort.

I'd expected this to be way more difficult to digest than it turned out to be. Sure, it's sloooow, it's looooow, and it's not painting a particular upbeat picture. But I could dig it.

I always find it impressive, the way Björk puts her music and albums together. Some very strong songs on this one. Very enjoyable listen.

Not sure if this additional list needs all TOOL albums to be included. Personally I devourer everything this bands produces. And Lateralus ranks as one of the best albums they have produced.

Some really nice melodies in here and I like the soundscape they build. But it does tend to veer of into noodling and stretching things out too thin to keep my attention all the way through.

Not bad, but not something I will easily revisit again later.

I like their first album better, but the overall sound of Yeasayer is something that I can very much relate to.

I typically like pretty much all Indie-rock bands from the early 90's, and can even appreciate lo-fi productions (Guided By Voices is one of my all time favorite bands). Yet this particular Polvo album just doesn't do anything for me. Production is lo-fi, but somehow also pretty annoying with that high scratchy guitar sound. This one didn't do it for me.

Upon my first encounter with this album, I felt an instant connection. While I'm cognizant that it might embrace several 'indie-rock clichés,' I nonetheless find the album brimming with energy and fun. The quirky lyrics resonate with me, complemented by the open production and overall upbeat vibe. It's an album I revisit periodically, and even after numerous listens, it continues to hold a special place for me.

I think I can safely say that I have stared at my shoes long enough now to conclude that I find this a pretty boring record.

To me, Bleed American is the absolute peak in the Jimmy Eat World catalogue. By far. It outranks all their other albums by miles and miles. On Bleed American everything fell into place seamlessly and they produced a record that had their best musical ideas, best musical execution and production. So having another of their albums in this list to me doesn't add a thing that they hadn't already done way better before. Listening to Clarity only confirms this again. Not bad, but definitely nothing special.

Nah, not in the mood for this. Don't think I will even be.

Bit dated, and nothing that really get's me exited. Although it's also not bothering me either. Not sure if that's a good or bad thing, but I'll give it 3 stars nonetheless.

It has some real power, and the opening track was very promising. But after a couple of songs I lost interest as it all started to sound the same.

I like the sounds of CAKE (well, there's a sentence I never thought I would use!). This album is entertaining and a fun listen.

Not much to say about this. All sounds the same to me. Not bad, but nothing to write home about either. I think if I would ask AI to come up with "a slick-produced R&B album of a female duo", this is pretty much what would come out.

I had the impression that was pretty much ok, when I first heard it back when it came out. But now that I actually listen to the whole album I must say it is pretty lame. This is so much on the safe side that it doesn't even leave room for anything actually exciting to happen musically. Elevator music - the elvevator to hell most likely.

This is quite far from the musical styles I usually connect with. I’m not saying it’s good or bad—I simply don’t have the frame of reference to understand or appreciate it fully. I want to be respectful to those who do enjoy and resonate with this kind of music, so offering a rating wouldn’t be meaningful coming from me. The tool doesn't support a 'N/A' rating, so I'll give it 3 stars to not mess with the average rating it currently has.

I joined the 1001 Albums journey to challenge myself—to explore music beyond the boundaries of my comfort zone. The main list did that quite well, sparking curiosity and discovery. That momentum carried me into this collection of user-submitted albums. However, I now find myself reaching the outer limits of what resonates with me. Unfortunately, this particular album leaves me completely unmoved—it simply doesn’t connect with me on any level. Sorry to the submitter.

There’s no reason to include this on the list—it doesn’t offer anything that their debut album didn’t already deliver far more effectively. While Discovery is a pleasant listen, it lacks the weirdness, grit, and edge that made the first album so compelling. This one feels overly polished and leans too much into easy listening for my taste.

What’s left to say about Tool that I haven’t already spilled across reviews of their other albums on this list? I love Tool. Unapologetically. They’re easily one of my all-time favorite bands. I’ve seen them live multiple times, and each show was nothing short of life-altering — no exaggeration. I’ll devour anything they release and still be hungry for more. But let’s be honest: does every Tool album need to be on this list? Probably not. Even masterpieces can be overrepresented. Still, I won’t complain too loudly — it’s Tool, after all.

This album came with zero expectations — and somehow managed to exceed them. It’s surprisingly decent, even occasionally enjoyable, like finding a halfway drinkable cup of coffee at a gas station. That said, it didn’t leave a lasting impression. I appreciated the experience, but I won’t be circling back. Some things are best left as pleasant one-offs.

This album’s so 2D, I’m surprised it didn’t come with a pair of cardboard cutout headphones.

I’ve got to hand it to whoever submitted this album — that’s a bold move. It’s the kind of record that sparks heated debates between die-hard fans and eye-rolling critics. Sure, it sold millions and made a generation of teenage girls weep with joy, but let’s not confuse commercial success with musical merit. This isn’t so much an album as it is a masterclass in marketing. Personally? I can’t stand it. But then again, I wasn’t a teenage girl in 1999 — and clearly, that was the target demographic.

I believe I rated the Boards of Canada album on the original list with three stars. I'm neither a fan nor a critic—it simply doesn't resonate with me. This second entry from their catalog hasn't changed that impression. I find the music rather monotonous and lacking in variation.

I actually “discovered” The Tragically Hip only a few years ago, and I must admit—I had a completely misguided impression of the band beforehand. Once I finally dove into their catalogue, I was genuinely and pleasantly surprised. The raw authenticity and emotional depth, especially in the vocals, immediately resonated with me. It’s a sound that feels honest, powerful, and deeply human.

Crap. Fifteen seconds into the first track and I already knew what I was in for: folky-fiddle-la-la-la. The kind of whimsical twang that makes me want to run for the hills. I can’t stand this — not even a little. Hard pass.

I’m not sure what’s worse — enduring 38 minutes and 13 seconds of nerve-wracking trumpet noodling, or being stuck in a group chat where everyone insists on replying “haha” to everything. Either way, it’s a slow descent into madness. My ears felt personally attacked. I’ve come to accept that my internal audio system was never calibrated for jazz — and frankly, I’m okay with that. Some things are better left un-tuned.

I think the Bon Iver “coin” dropped a bit late for me. At first, I wasn’t quite sure what to make of his work—but over the years, I’ve grown to appreciate it. His sound is truly unique and instantly recognizable. It pushes the boundaries of electronic-based alternative music in a way that feels both experimental and emotionally resonant.

A very intriguing band that I've revisited many times over the past few years. This latest album marks a thoughtful evolution in their sound—cohesive and well-crafted throughout. While I appreciate the direction they've taken here, I personally still favor their 2020 and 2022 releases, which resonated with me a bit more.

Solid! And what a delightful curveball. I’d never even heard of this band before, but as a sucker for that vintage ‘70s British rock sound, I was instantly hooked. Flashes of Led Zeppelin swagger and George Harrison-esque guitar solos, all woven in so effortlessly. Consider me pleasantly blindsided.

I have a lot of respect for Daft Punk, and I’m sure being at this performance was an unforgettable experience. But as a standalone release, its inclusion on this list feels more like a nostalgic nod than a necessary addition. It’s a pleasant listen, no doubt—but it doesn’t quite justify its place. Enjoyable, but let’s keep moving.

Can someone explain why this album is considered essential listening before death? It’s polished to the point of sterility—like it was engineered in a lab where risk and originality were banned by committee. There’s a sense that it wants to be universally liked, but in doing so, forgets to be interesting.

Listening to this album feels like I'm eavesdropping on the inner monologue of someone with severe ADHD, if their brainwaves were set to shuffle and the volume stuck on “chaos.” Every sound, every warbled vocal, is a knee-jerk reaction to some invisible nerve being poked. The result? A sonic pinball machine: lights flashing, bells ringing, and absolutely no idea where the ball will bounce next. It’s not far off from wandering through the woods at night on an LCD trip—eerie, unpredictable, and just a little bit mesmerizing. There’s a certain fascination in the madness, but as an album, it’s less a collection of songs and more a fever dream.

This album is fragile, honest, and quietly unsettling. Stripped of any gloss or ornamentation, it feels less like a polished record and more like a collection of diary entries—raw confessions never intended for public eyes. There’s a vulnerability here that borders on voyeuristic; listening feels almost intrusive, as if you’re eavesdropping on someone’s most private moments. Yet, in sharing these intimate stories, the artist crafts a deeply personal and moving experience.

Catchy hooks? Absolutely. But they’re the kind that feel like they were assembled in a pop-punk IKEA kit—three chords, some gloss, and a manual titled “How to Sound Edgy Without Actually Being Edgy.” It’s all very safe, very polished, and very... expected. The kind of album that makes you nod along while wondering if your playlist accidentally looped. What Did You Expect from The Vaccines? Well, at least a bit more than an album that feels like 'punk rock with a helmet on'.

I really want to love this more than I actually do. It checks all the right boxes—stylistically, sonically, even emotionally. The ingredients are there, like a musical recipe I usually crave. But somehow, the final dish feels under-seasoned. It floats along pleasantly enough, but with the energy of a half-inflated helium balloon—just enough lift to stay airborne, but not enough to soar. It’s frustrating, really. So close to greatness, yet just shy of the spark that makes it unforgettable."

Musically, I can get behind this—up to a point. But then the vocals kick in, and suddenly it’s less rock anthem and more existential meltdown. There’s rage, sure, but it lands somewhere between ‘revolutionary angst’ and ‘toddler denied a second cookie.’ What exactly is his problem? And more importantly, why is he yelling it at me?

Let’s be honest—most rock fans know exactly what they’re signing up for when they hit play on a System of a Down album. It’s a wild ride: witty, weird, and unmistakably SoaD from the very first note. Their sound is a genre-bending circus, but it’s the vocals that truly launch them above the metal crowd—equal parts manic preacher and operatic madman. Still, as much as I admire their signature chaos, I can only handle it in short, furious bursts. Unless I’m out in the woods, hacking away at trees with a blunt axe and in need of a sonic adrenaline shot, I can’t imagine listening to an entire album in one go. It’s just too much to process—like trying to eat an entire chili pepper farm in one sitting. Thrilling, yes. Digestible? For me, not so much.

Over the past few weeks, I’ve found myself returning to this album again and again. What started as casual curiosity quickly turned into genuine admiration—it grew on me with each listen, revealing new layers of intrigue and creativity. Though the artist was completely unknown to me, the music instantly captured my attention. It’s clever, slightly edgy, and carries a strong '90s vibe—which, for me, is always a welcome touch. The songs are packed with infectious hooks and delivered with a vibrant, almost electric energy. There’s a palpable sense of artistic freedom here, bursting with originality and flair. A truly delightful discovery—and I’m grateful to the person who recommended it. This one’s going to stay in rotation for a while.

Sports Team’s album bursts out of the blocks like a caffeinated sprinter at the Olympics—tight riffs, punchy vocals, and enough chaotic charm to make you believe you’re in for a gold-medal performance. The first few tracks are pure adrenaline: sweaty, shouty, and gloriously messy in all the right ways. But then… something happens. Somewhere around the halfway mark, the sprint turns into a jog. The band trades its reckless abandon for a more calculated stride, like a 100m runner who suddenly realized they signed up for a marathon. The energy doesn’t vanish—it just gets domesticated. Tracks start pacing themselves, and while the craftsmanship is still there, the wild spark that lit the fuse early on begins to flicker. It’s not a crash, but it’s definitely a comedown. The album finishes not with a bang, but with a polite nod. Fun? Absolutely. Memorable? Kind of. Medal-worthy? Maybe a participation ribbon.

I don’t think I could say a bad word about Talking Heads even if I tried, and why would I? This band wasn’t just groundbreaking back then; they still sound like they’re 'now'. Fresh, wildly creative, funky, edgy -like art school met the dance floor and decided to start a revolution. A couple of months ago, I caught the polished 40th anniversary version of Stop Making Sense in the cinema. What a ride. It wasn’t just a concert film, it was a masterclass in performance, energy, and weird brilliance. Absolutely mesmerizing. It’s a shame I never got to see them live. But hey, if you're going to miss a band, miss one that changed music forever.

I’ve never considered myself a punk enthusiast, but this album genuinely surprised me. It’s refreshingly unpretentious—just 14 raw, energetic tracks packed into under 30 minutes. Think of it as the McDrive version of going out for dinner: fast, and unapologetically straightforward. Continuing that analogy, the album feels like it was assembled with the same effortless speed as a McDonald’s employee cranking out a stack of Big Macs. There’s a certain charm in its simplicity. That said, I won’t be revisiting this album any time soon. Much like when I crave a burger, I rarely end up at McDonald’s.

Olivia Rodrigo apparently is a major force in today’s music scene. This album radiates fresh energy; there’s a sense of urgency and punch in the production and vocals. It’s dynamic, confident, and emotionally charged. That said, my musical roots are firmly planted in the alternative sounds of the '80s and '90s, which makes it harder for me to fully connect with this style. In other words: this boomer might be a bit out of sync with the current vibe, but still recognizes and respects the craft and effort behind it

I’ve heard better Sufjan Stevens albums than this one. By the sixth track, it started to wear thin. The overall sound feels overly dreamy—soft textures and airy arrangements dominate—but it lacks any real punch or dynamic contrast to keep things engaging. Combined with the persistent high-pitched, almost whiny vocal tone, the experience became monotonous and, frankly, not something I’d want to revisit.

Yikes. There are tracks on this album so lo-fi, even Robert Pollard of Guided by Voices might raise an eyebrow—and that man practically lives in a cassette deck. We're not talking lo-fi anymore. We're talking lower-fi. Lowest-fi. Is that a thing? It is now, thanks to this sonic spelunking expedition. That said, as a devoted Pollard/GBV fan, I’ve trained my ears to sift through the fuzz, the hiss, and the glorious chaos. And yes—if you listen closely, like really closely—there are melodies here. Good ones, even. But they’re buried so deep, you’d need a determined archaeologist or at least a mildly motivated dog to dig them up. Ideally they would have been buried by my lazy dog who buries bones just below the surface. That’s the sweet spot this album misses by a few inches.

Raw Energy: 10/10 This album doesn’t just bring the heat—it throws gasoline on it and dances in the flames. Pure, unfiltered adrenaline. Melodic, To-the-Point Songs: 8/10 Short, punchy, and surprisingly tuneful beneath the chaos. Like finding a catchy chorus in the middle of a riot. Vocals: 2/10 Now, about those vocals... If screaming at the top of your lungs were an Olympic sport, this album would take gold. But for casual listening—say, anywhere outside a mosh pit—it’s a bit much. The shouting tends to drown out the actual songs, which deserve better. Then again, I might not be the ideal judge of a punk-hardcore classic. I like my rage with a melody and my distortion with a side of nuance

Hauntingly beautiful and emotionally resonant, this album unfolds with deliberate patience. Each track builds gradually—layer upon layer—creating a rich tapestry of sound that feels both intimate and expansive. The band’s sonic depth is remarkable, with textures that seem to breathe and evolve, further elevated by vocals that are raw, gripping, and deeply human. Positioned in Talk Talk’s discography as their second-to-last album, it feels miles away from the more pop-oriented early records. Yet, it still fits perfectly within the artistic journey the band traveled.. This is not a joyful record, but its melancholy is purposeful and powerful. It stands with quiet confidence, carving out a space that feels entirely its own. The result is breathtaking—a rare kind of beauty that lingers long after the final note.

I was not in the mood for this and expect I will never be.

For the casual listener, I can understand how this album might come across as just another "average indie rock" release. But for those of us familiar with the band and their body of work, it offers so much more. The production is rich and layered, the vocals are emotionally resonant, and the melodies—often winding and introspective—build beautifully toward moments of cathartic release. It’s a journey that rewards attentive listening, revealing depth and nuance with each play.

Imagine a synth pad wandered into a boutique, got distracted by a rack of ironic graphic tees, and decided to stay. That’s this album. A collection of inoffensive bleepedi-bloops that drift lazily through the air like a scented candle trying to be edgy. It doesn’t demand attention, nor does it reward it. It’s the kind of music that says, “Hey, I’m here,” but only after you’ve already left. Perfect for a clothing store that wants to project “hip” and “not dull,” but ends up somewhere between “mildly curated” and “accidentally playing the demo track from a smart speaker.” It loops well, because you won’t notice it started in the first place.

I made it to track 11 before it started to get on my nerves.

While the album offers a pleasant listening experience with its smooth production and agreeable melodies, it ultimately falls short of making a lasting impression. For me, it lacks the distinctive qualities or emotional depth that would elevate it among the standout releases in this genre.

‘90s underground post-hardcore, baby!’ Yeah, I can dig Unwound. This release especially shines with standout tracks like ‘Corpse Pose’ and the witty titled ‘Go to Dallas and Take a Left’ - seriously it should be ranked among the better song titles in any genre. That said, Unwound albums can be a bit of a commitment. Some songs hit hard and grab you instantly, while others linger too long in the noisy margins without quite reaching a satisfying climax. But hey, it’s raw, it’s messy, it’s ‘90s underground post-hardcore, so I’m not complaining.

I'm the 156th reviewer of this album, and only one other person has used the word 'haunting' in their review? Surprising but ok, that's the word that first comes to mind when I listen to Portisheads music. Haunting yet beautiful. Lovely voice, slow grooves, deep beats. What's not to like?

Kim Deal didn’t just leave her mark on the Pixies—she took that magic and spun it into her own universe with The Breeders. Sure, the rest of the band deserves credit for their contributions, but let’s be honest: this ship sails on Deal’s charisma, songwriting chops, and that unmistakable charm. Last Splash wasn’t just an album; it was a jolt of color in the grayscale of early ’90s alt-rock. The moment those rolling bass notes tumble into “Cannonball,” you’re hooked—like a fish that doesn’t mind the net. That track didn’t just invite me in; it shoved me headfirst into The Breeders’ catalog, straight back to their debut, Pod. Ask me on any given day which one’s my favorite, and I’ll probably change my mind before I finish the sentence. That’s the kind of dilemma you want to have.

Aside from 1975 being the year I made my grand entrance into the world, I have absolutely zero connection to this band—or this album. And frankly, after listening, I’m not rushing to establish one. This record is slick to the point of slipperiness, polished until it gleams like a showroom floor, and then drowned in a vat of syrup so sweet it could give Willy Wonka a toothache. Fifteen tracks of this? That’s not an album; that’s an endurance test. By the halfway mark, I wasn’t tapping my foot, I was grinding my teeth. Not because of the sugar rush, but because every overproduced beat squeezed the life out of what could have been music with a pulse. Listening to this didn’t send me to the dance floor; it sent me straight to the dentist.

R.E.M. is very much an acquired taste, and one I’ve happily acquired. I love the melodies and the deceptively strong songcraft — music that sounds effortless on first listen, then quietly reveals its depth with every return. Hooks linger without shouting, arrangements breathe, and the songs unfold at their own unhurried pace. This is the kind of album that doesn’t demand attention but rewards it generously. The more time you spend with it, the clearer its subtleties become, until you realize how carefully and confidently everything has been put together. Thoughtful, melodic, and quietly assured — exactly the sort of record that ages well rather than wearing itself out.

And there we have it. Apart from the debut, this user-compiled list appears to contain Tool’s entire recorded output. All of it. Yes, I love Tool. Yes, I enjoy this album just as much as the rest. Yes, Maynard is a vocal genius, and yes, the band delivers precision-engineered performances both on record and on stage. So yes, this gets a high rating. No surprises there. But did we really need the full Tool retrospective? If you’ve heard one or two Tool albums, you know the deal. You know the time signatures, the tension-and-release, the slow build to transcendence. You know exactly what you’re signing up for. I would have preferred a few curveballs — albums I didn’t already know by heart — rather than being handed the band’s back catalogue in bulk. Tool is excellent. Tool is reliable. Tool is not, at this point, a discovery. A little more imagination from the album submitters would have gone a long way.

Interesting, with some nice twists and turns.

Spose has a lot to say. An impressive amount, really. Unfortunately, none of it seems edited, prioritized, or paired with music capable of carrying the weight of his commentary. By halfway through track two, the combination of relentless verbosity and lukewarm punk-rap backing tracks has already collapsed under its own self-importance. One gets the distinct impression that this album was submitted either by Spose himself, or by a well-meaning older brother who insists you really need to hear what his sibling has to say. You don’t. Meh.

An ok listen. Nothing fancy, nothing to get annoyed about.

Unique and instantly recognizable vocals. I like Bon Iver's style although a typical album more or less sounds the same throughout.

'Pick Up on my Mojo' is a solid track. Some good bluesy-rock.

Krautrock. It’s a funny term, now that I think about it. “Kraut” — finely cut raw cabbage. Rocking your finely cut raw cabbage. An image that, in hindsight, feels almost painfully appropriate. Listening to this band, there were multiple moments where it sounded less like music and more like a kitchen in distress. Guitars hack away with all the finesse of someone angrily prepping coleslaw, rhythms churn like a pot left unattended, and every now and then a sound emerges that makes you wonder: is that a pan flute, or has the oven timer finally lost its will to live? For context, the term krautrock was coined by British music journalists in the early 1970s as a broad — and initially dismissive — umbrella label for the experimental rock coming out of West Germany. It derives from “kraut,” a wartime slur shorthand for sauerkraut. A lazy name for a deliberately unconventional scene. Fine. Historically interesting. Mildly unfortunate. None of which explains why listening to this album feels like being trapped in a rehearsal space where everyone agreed to “just see what happens” and then refused to stop. The music insists on its own importance, stretches every idea well past the point of usefulness, and seems actively hostile to the concept of editing. Experimental, yes. Enduring, no. If this is the sound of finely cut cabbage being rocked, then congratulations: the cabbage has won. I’ll be over here, airing out the kitchen.

This album is such a pristine, by-the-numbers example of metal-with-electronics-double-kick-drums-scream-grunt that it almost tips into parody. If Spinal Tap had access to modern DAWs and a trigger-happy drummer, this might be what they’d release as a joke. Unfortunately, the band appears to be entirely serious. I don’t often talk down entire genres, and I like to think my musical tastes are reasonably open-minded. This, however, is so aggressively removed from anything I value in music that it feels less like an artistic statement and more like a checklist being executed at maximum volume. Every trope is present, every gimmick deployed, and not a single moment suggests self-awareness. What remains is not provocation or innovation, but posturing. A hollow spectacle of people who seem convinced they are pushing boundaries, while in reality they’re just flailing around inside the safest, most overused corner of the genre. It doesn’t challenge the listener — it insults them. A gimmick, executed loudly. Shame on them.

This at least feels like an honest attempt to express what these kids had to say, at a time when the format they chose was still relatively new and unconventional. There’s a certain sincerity to it, even if the execution occasionally shows its age. Whether it has truly stood the test of time is debatable, but it remains listenable without demanding too much patience or goodwill from the listener.

That album cover certainly knows how to grab attention — arguably doing more heavy lifting than the music itself. What’s on offer sonically isn’t bad by any means, but it never quite gives me a way in. There’s a faintly cringey undertone throughout, and just when it feels like it might commit to a direction, it hesitates and drifts off again. Nothing here is actively offensive or outright misguided; it simply hovers in a state of perpetual almost. Pleasant enough, occasionally intriguing, but ultimately failing to light much of a fire.

Sam Fender is hot, or so I’m told. He’s also frequently cited as being heavily influenced by Bruce Springsteen, which is immediately apparent — the echoes are loud, clear, and worn with pride. It’s genuinely reassuring to hear that The Boss still looms large over a new generation of musicians. The album is well produced and packed with solid, competently written songs. Everything is in its right place, perhaps a little too much so. What’s missing for me is that untamed sense of realness — the grit, urgency, and emotional risk that Springsteen brings so effortlessly. This is polished heartland rock, respectful and enjoyable, but never quite raw enough to leave a bruise.

There are some genuinely interesting moments on this album, but they’re offset by a stretch of songs that blur together and lean a little too heavily on the folky side for my taste. When it works, it’s engaging; when it doesn’t, it starts to feel interchangeable rather than distinctive.

Stumbled upon this gem and ended up hitting repeat—several times. Completely new to me, yet it pulses with that irresistible ‘80s new wave energy reminiscent of early U2 and Echo & the Bunnymen—two bands I hold in high regard. Definitely earning a spot on my “save for multiple revisits later” Spotify list. A little obscure, a lot addictive. Nice find!

Not quite sure what to make of this one. It’s not annoying, not awful—just… politely present. Perfect as work background music, never demanding attention. But therein lies the rub: it’s so unobtrusive that it barely exists, doing its thing without leaving a mark. I’d rather have music that grips me, shakes me, or at least pokes an emotional nerve. Ah well.

This one took a few tracks before it really clicked. The second half is where it finds its footing, delivering more urgency and emotional weight. Stripped down to a minimalist core, the songs feel raw and purpose-driven, letting feeling lead the way. A slow burn, but one that ultimately pays off—I liked it quite a bit.

Interestingly, just two albums ago I came across 'Norther' by Ex-Easter Island Head - and I now realize I can almost verbatim reuse that same review for Tosca’s 'Suzuki': Not quite sure what to make of this one. It’s not annoying, not awful—just… politely present. Perfect as work background music, never demanding attention. But therein lies the rub: it’s so unobtrusive that it barely exists, doing its thing without leaving a mark. I’d rather have music that grips me, shakes me, or at least pokes an emotional nerve. Ah well.

This is a bit too experimental for my taste.

Pleasant to the ear and some genuine good songcrafting.

Véry easy listening.

This album is what happens when someone mistakes access to software for access to talent. The entire project is built on other people’s ideas. Lifted, stripped of their original meaning, and stitched together with all the subtlety of a ransom note. Samples aren’t transformed; they’re looted. Context is erased. What once carried weight, atmosphere, or intention is flattened into background texture for someone else’s self-congratulatory experiment. There’s a difference between sampling as an art form and sampling as a shortcut. The former recontextualizes, reframes, and builds something new from the bones of the old. The latter just rearranges furniture in a house you didn’t build and calls it architecture. This album lives firmly in the second category. The production screams “look what I can do” rather than “listen to what I have to say.” It’s audio-engineering as cosplay. Filters, chops, and effects applied not in service of a vision, but as proof of technical capability. The result is sterile, disjointed, and emotionally hollow. Tracks feel like exercises, not statements. What’s most frustrating is the missed opportunity. A user-submitted album list should be a treasure map - something that uncovers overlooked brilliance. Instead, this feels like someone’s ego-stroking hobby project shoved into the spotlight. It doesn’t challenge, surprise, or expand the conversation. It just takes up space. Big UGH indeed.

“Experimental jazz fusion” ... ok, yes, I went in on guard. At first, there’s a pleasant surprise: more melody than expected. Lines emerge that almost suggest direction, maybe even intention. You think, okay, this might go somewhere interesting. But then the synth keys roll in. Thick. Glossy. Slightly smug. And they don’t just visit - they dominate. One track leans on them. Then the next. Then the next. What initially felt like textural exploration starts to feel like a preset showcase. The harmonic palette narrows. The “fusion” becomes more about layering synth washes over jam-band looseness. It sounds like a Friday night attic session where everyone’s enjoying themselves immensely and no one thought to invite an editor. You can almost hear the grins in the room. Unfortunately, I can also hear the indulgence.

While I have great respect for the talent of Lady Gaga, for me it's not yet evident on this older record.

About fifteen years ago I stumbled onto this band - and that was it. Lightning strike. Right band, right moment, right soundtrack to that particular chapter of my life. And at the center of it all: Scott Hutchison. His voice, unmistakably Scottish, beautifully unvarnished, carried lyrics so honest and poetic they felt less like songs and more like open letters. They didn’t just resonate; they lodged themselves somewhere permanent. This album became heavy rotation material instantly. I devoured not only this record but everything orbiting it - side projects included (Mastersystem, anyone?). There was something rare in the emotional candor: melancholy without self-pity, vulnerability without theatrics. To me it felt real. It was real. Which makes revisiting it now both powerful and devastating. Ten years after this release, Scott stepped out of life in the very way he foreshadowed in the song “Floating in the Forth.” Hearing those lines today: “Am I ready to leap, is there peace beneath The roar of the Forth Road Bridge? Fully clothed, I'll float away Down the Forth, into the sea" - is no longer just poetic imagery. It’s gives their musical legacy even firmer roots. This album remains extraordinary: raw, melodic, and painfully human. But it’s impossible to separate the music from what followed. What a record. What a voice. What a loss.

Some films reach greatness through performance or cinematography; Bladerunner has both and ascends on atmosphere—and the sound design is a major reason why. Vangelis’ haunting, eerie soundscape doesn’t just accompany the images, it defines them. It seeps into every frame, elevating the film into something immersive and unforgettable. As a standalone album, it’s not something I’d casually put on rotation. Its power lies in context. But within the cinematic experience, it’s nothing short of masterful—an essential component of why this remains one of my all-time favorite films.

There’s something uniquely satisfying about stumbling onto a project with zero expectations and walking away genuinely impressed. That was my experience with this release. I went in unfamiliar with the group, and within a few tracks, I was locked in. the sound feels rooted in the golden-era sensibilities of late ’90s alternative hip-hop. There’s an unmistakable warmth to the production—dusty drums, jazz-leaning loops, and carefully incorporated samples (Nuff Teef!)—that evokes the spirit of groups like A Tribe Called Quest and De La Soul without ever feeling derivative. It’s nostalgic in tone, but contemporary in execution. Overall, this project is a genuinely pleasant surprise. It captures the easy chemistry and creative sampling ethos of classic alternative rap while maintaining its own identity. For listeners craving thoughtful lyricism, cohesive production, and that head-nodding, feel-good energy, this album is a real nice find.

Quite pleasant to the ear.

This album is so relentlessly sweet it practically comes with a juice box. There’s a wide-eyed, storybook innocence running through it that this boomer simply can’t decode. Charming, perhaps — but not speaking my language.

German metalcore… which already raises an eyebrow. Halfway through the first track, the blueprint is clear: competent, crunchy riffing paired with grunt-heavy screamo, abruptly swapped for glossy, overly polished whiny vocals wrapped in bubblegum aesthetics with full-on Barbie-core energy. Slick? Yes. Subtle? Not even remotely. — but stylistically a hard pass for me.

This didn't quite stand the test of time.

This started out pretty strong but then drifted off in somewhat more generic waters.

Some very pleasant grooves and I totally dig Del's vocal style.

As shallow as a one-inch puddle. My eardrums barely bother translating the vibrations into anything resembling meaning. It’s more like background noise for a shopping mall that forgot to pay its electricity bill. I’m genuinely impressed, though: someone trudged through the entire 1001 albums canon, wading through innovation, risk, actual artistic intent, and still landed here, enthusiastically pointing at this glossy, mass-produced mirage like it’s buried treasure. That journey must have been a special kind of punishment. Imagine digesting a thousand records with real texture, personality, and creative spine, only to crown this assembly-line pop as worthy of the same conversation. These tracks are so over-polished they’ve sanded off any trace of identity. It’s less “music” and more “product”, engineered to offend absolutely no one while saying absolutely nothing. There’s no grit, no risk, no pulse, just a sterile sheen and the faint echo of better ideas that never made it past the marketing meeting.

I have absolutely no idea what to make of this.

Now this is more like it! Monolithic, sludgy riffs, crushing doom-laden grooves, and those low, droning vocal textures combine into something genuinely immersive. It's heavy without relying on brute force alone. The atmosphere does just as much of the lifting. And if you've ever seen them live, you know they can deliver this intensity on stage just as convincingly. As much as I enjoy Oceanic, I have to admit that its successor, Panopticon, is the one that truly perfected the formula. Everything seemed to click into place on that album. Even so, this remains a formidable record and a cornerstone of atmospheric sludge metal.

These guys clearly have a lot to say. And apparently decided the best way to get it across was to play everything at double speed. The instruments and vocals seem locked in a frantic sprint, each trying to beat the other to the finish line. After four tracks, my brain was already waving a white flag, begging for something with a little breathing room. I prefer music that leaves space to settle in rather than constantly demanding my attention. Sorry, but I won't be waiting at the finish line.

I always thought I liked The Who. You know, capital-L Liked. The kind of band you nod about with confidence, like you’ve done the homework. And to be fair—I still think I do… probably. But this album? This one really put that belief on trial. It just keeps going. And going. Not in a hypnotic, “lost in the music” way, but more in a “are we seriously still doing this?” kind of endurance test. There’s a certain grandiosity here that doesn’t feel earned, like it’s constantly puffing its chest out, desperate to remind you how important it thinks it is. At some point, it stops sounding ambitious and starts sounding a bit… self-satisfied. Maybe even a little smug. And the listening experience? Not exactly pleasant. More like being cornered at a party by someone who won’t stop explaining how brilliant they are. You nod along, waiting for a moment of genuine connection that never quite lands. Now I’m left wondering: is it me, or is it this album? Because I know I’ve enjoyed other Who records without this creeping sense of fatigue. Maybe this was just the wrong album at the wrong time, or maybe it’s the one where the band disappears up its own concept. Either way, this one didn’t click. It didn’t even knock politely. It just showed up, overstayed its welcome, and left me questioning my own taste on the way out.

I could write pages about what Pearl Jam means to me, and judging by their enduring fanbase, I know I'm far from alone. But I'll keep it short. After the seismic impact of Ten, I genuinely thought they had already reached their peak. Then came Vs.: rougher around the edges, more urgent, less concerned with radio play, yet somehow even more compelling. Most importantly, it was an entire album of new Pearl Jam songs! And every single one felt essential. Fresh, exciting, and not yet played into the ground by MTV. That sense of discovery is still forever attached to this record for me. From start to finish, Vs. is a powerhouse. A snapshot of alternative rock in the '90s at its absolute peak (yes, I'll reluctantly use the word: grunge). I loved it then, and I absolutely love it now. And somehow, they weren't even done. Vitalogy would go on to do to Vs. what Vs. did to Ten. Those first three Pearl Jam albums may well be my favorite opening trilogy by any band.

“When I grow up, I want to be like Blink-182!” “Aww dad, can I? Please?” Sure, kid. Dream big. Just maybe aim a little higher than reheated emo-pop-punk clichés and the musical equivalent of a shrug. But no, clearly that advice went straight in one ear and out the other, because here we are: a full album of bargain-bin rebellion that sounds like it was assembled from leftover riffs and half-remembered teenage angst.

Interesting album, and I’ve always had a soft spot for that hazy late-60s psychedelic rock sound. And to be fair, there are plenty moments here that genuinely click. But the problem is that none of it feels essential. Plenty of like-minded rock gods from that era brought the same sound with more danger, more depth. Again, this album isn’t bad by any means. It’s just trapped in the uncomfortable space between “good” and “why would I ever choose this over the classics?” It feels less like a revelation and more like an echo of better records spinning in the next room.

Nice flow, smooth grooves, tasteful samples—there’s definitely enough here to keep your head nodding along on autopilot. The production glides effortlessly, polished without feeling sterile, and for a while it pulls you into that comfortable late-night rhythm where everything sounds cooler than it probably is. But somewhere underneath all that smoothness, there’s a missing spark. The voice never quite lands emotionally—it hovers nearby, hinting at depth without ever really cutting through. And that’s the frustrating part. It’s good. Clearly good. And maybe it’s one of those records that slowly reveals itself over multiple spins. Maybe there’s something buried beneath the grooves that’ll eventually click. But after the first listen, I wasn’t exactly itching to drop the needle again. It ended, I nodded respectfully, and then immediately started thinking about what to play next—which is rarely a great sign.

Kashmir is one of those bands I discovered at exactly the right moment in my younger years: when music still had the power to permanently rewire a part of you. Their sweeping, emotionally charged songs struck a deep chord back then, and remarkably, they still do today. While I think 2003's Zitilites ultimately outranks this album, it's by the slimmest of margins. A wonderful record by a truly exceptional band.

This brand of punk-infused rock leaves me completely cold. It's painfully one-dimensional, dutifully checking every genre cliché as if working from a laminated instruction sheet: scrape the pick down the strings, drag it along the guitar neck, crank up the feedback, scream your lungs out, repeat. Rinse and recycle. Beneath all the performative attitude, I struggle to find any real substance. No nuance, no emotional depth, no message that rises above the noise—just a barrage of well-worn tropes masquerading as rebellion. It may be energetic, but energy alone doesn't make compelling music. A very easy pass for me.

Not sure if this stood the test of time.

This brand of bombastic '90s guitar-noodling metal has always struck me as the musical equivalent of flexing in front of a mirror: all technique, all posturing, and very little substance. Revisiting this nearly 35-year-old album hasn't softened my opinion—it has only reinforced it. The overblown solos, manufactured bravado, and relentless need to impress leave me completely unmoved. Technique without soul is just gymnastics. Ugh.

Imagine a chorus of cutesy, childlike voices floating over relentless double-kick drum assaults. As if a box of Tamagotchis accidentally tumbled into the mosh pit at a metal festival. The contrast is clearly intentional, but for me it's spectacularly misguided. Instead of quirky, it comes across as grating; instead of inventive, simply absurd. It's so aggressively at odds with my musical sensibilities that it genuinely makes me question humanity's collective taste.