This was a fun funk album. The hip hop/rap elements were well executed and didn’t feel forced. This album is very much of its time but still sounds good today.

This album is my submission. I chose it because Sufjan Stevens has been incredibly influential within the indie scene to the point where his influence can be heard almost everywhere. His music spans folk, electronic, and rock and incorporates elements of theatre and conceptual storytelling. Carrie & Lowell came in the wake of a maximalist electronic album and stands in contrast as a minimalist folk record that still pulses almost imperceptibly with electronic beats. This record came out a decade after ‘Illinois’ and is a testament to Stevens’ ever evolving body of work and the consistency of the quality of that work. The Thematically, it explores the death of his mother and the complicated feelings left in the wake of the death of someone who essentially abandoned him as a child. Here we see some of Stevens’ best and most heartbreaking lyrics. As a trained writer, he expertly explores the winding path of grief marked by memory, self-destruction, and ultimately yearning for a relationship that never was. His use of religious metaphor in particular is resonant.

This album should have been on the list. The production by Giorgio Moroder was fantastic and it represents a transition towards synth pop.

There a lot of really interesting stuff going on here. There’s some progressive R&B with a good dose of electronic, ambient, and jazz. What really stood out to me were the gospel chord changes throughout. What really stands out to me here is the use of changing textures throughout. It makes for an interesting experience that rewards close listening. My first listen through I was doing something else and the album didn’t make much of an impression. However, when I sat down and devoted my attention to it, it really opened up to me.

This album definitely should have been on the original list. It is a genre defining and decade defining. I was in high school when this came out and though I wasn’t into this kind of music, it was inescapable. It is a theatrical glam and prog rock inspired pop punk masterpiece. Listening to it now is interesting because it really stands on its own. It’s much more ambitious than other pop punk albums. Of course it’s over the top, but it fulfills its aesthetic goals perfectly. Its search for meaning in a world broken in the wake of 9/11 and the war on terror perfectly encapsulates the spirit of the time as well.

100 gec's particular brand of hyper pop is more refined on their sophomore release. Still present is the frenetic and seemingly nonsensical mish mash of genres but there's more of a sense of direction here. They employ ska, metal, electronic, and hard rock elements to create something truly unique. I absolutely see why people don't like this band, but for me, they elevate these seemingly disparate sounds and lyrics to art worthy of examination and criticism.

I was a bit hesitant to listen to another psychedelic album from the late 60s, but this one was quite enjoyable. It comes out strong with the blues rock and moves into more typical psychedelic rock. There is a touch of early garage rock here was well which gives the album a bit of an edge leaning into almost proto-punk. There were parts that blended into each other, but overall, it was a great listen.

This was a fun funk album. The hip hop/rap elements were well executed and didn’t feel forced. This album is very much of its time but still sounds good today.

This album is stunning. Suzanne Sundfør’s voice is powerful and arresting and her lyrics are thought provoking and exploratory. There are moments of pure minimalism punctuated by lush synthesized arrangements that provide the perfect complement. This is folk/chamber pop at some of its best. The album is just absurdly beautiful. It is one of the best records I’ve heard in a while.

This album reminded me of Joy Division/New Order with a good dose of Sonic Youth style noise rock thrown in. The vocal delivery reminded me of Nick Cave at times as well. Overall, this was a good listen and it is a solid post-punk album. However, by the way the album sounded, I expected it to be older than it was. It seems to retread a lot of what came before.

This album is a fairly straightforward hard rock album with touches of hair metal and glam thrown in. The musicianship is fine and the singer has a great voice for the genre. The lyrics weren’t great however and this album came out 25-30 years too late. There is nothing unique about this album.

I didn't get much from this album on the first listen until the last few tracks. Upon a second listen, I was struck by the musicality and production. The use of African and Caribbean influences folded into a electronic framework including French House, Trap, and electro-pop works incredibly well. My French is not as great as I would like so I wasn't able to pick out the lyrics well, but from what I read in translation, this album is not shy about confronting social issues. Overall, this album is a success and should be better known by non-Francophone audiences.

This was super enjoyable and very listenable. The percussion was fantastic and the high energy throughout made this long album flow very well.

I barely understood anything, but I enjoyed the driving hard rock feel punctuated by poetry. This is definitely worth another listen. Thanks for recommending this album; I certainly wouldn’t have come across it myself.

This was a typical 2000s British indie rock album. It owes most of its sound to the early 2000s British alternative scene with influences from Britpop and New Wave. The lyrics felt very forced to me. There were some very clunky rhymes that took away from the songs. Overall, nothing here stood out as new or groundbreaking.

This is why I love this project. This album is a strange mix of 2000s indie rock, baroque pop, experimental rock, jazz, and Americana. The result is a whimsical album that isn’t afraid to explore its own weirdness while remaining accessible and memorable. It reminds me of a mix between Weezer and Beck though that doesn’t quite encompass what Tally Hall are doing. I will be listening to it again for sure.

This is a watershed electronic album featuring drum machines and synthesizers in an avant garde style. This komische style music was incredibly influential in the further development of electronic music and post-punk. This album definitely should have been on the original list.

This album is the perfect starting point for King Gizzard and the Lizard Wizard. Their particular brand of progressive neo-psychedelia just works. It plays with dynamics, rhythm, and reoccurring musical and lyrical themes throughout this infinite loop of a record. The band's influences are obvious, but they avoid sounding like a rip-off and are able to create something unique. They are incredibly prolific but manage consistency well.

This album infuses hip hop with 70s style funk and R&B in shades of Parliament/Funkadelic and Bootsy Collins. Donald Glover does a great job incorporating these influences though there are a couple of songs which don’t land. Overall, it’s one of his stronger albums.

This album definitely should have been on the original list. It is a genre defining and decade defining. I was in high school when this came out and though I wasn’t into this kind of music, it was inescapable. It is a theatrical glam and prog rock inspired pop punk masterpiece. Listening to it now is interesting because it really stands on its own. It’s much more ambitious than other pop punk albums. Of course it’s over the top, but it fulfills its aesthetic goals perfectly. Its search for meaning in a world broken in the wake of 9/11 and the war on terror perfectly encapsulates the spirit of the time as well.

I enjoyed this album but I have a couple of gripes. Roger Waters reuses a lot of musical motifs from the Wall throughout especially a melodic line from the song ‘Mother’ which serves as a recurring melody. I know those albums were essentially written together, but it feels a bit like self plagiarism. Both albums also have similar themes involving a man who becomes isolated from people in his life though this album resolves more cleanly. I did like the idea that this album is occurring in real time during a 40 minute dream. Again, I did enjoy this album, but I prefer The Wall.

This album should be better known. The mix of African music, blues, and folk music makes for a refreshing change. My French is too basic to make out more than a few words at a time, but I found the singing enjoyable. The first half was stronger, and the album began to drag on by the end, but I’m glad I was exposed to this music.

Weezer's first album is their best. Their signature blend of nerdy pop/punk/indie/rock arrived fully formed. As some other commentators have noted, there is not any wasted space here; every song is essential. I was really surprised to see this here. That fact that it was not in the original list is criminal.

Apostrophe (') is Zappa at his most accessible. His jazz and rock bona fides are on full display and his absurd lyrics, save for 'Uncle Remus,' carry throughout the album. Absent are the experiments in noise that typify his earlier work with the Mothers of Invention. This makes for a short and engaging album that still encapsulates Frank Zappa's unique anti popular music approach.

I really enjoyed this album at first, but it started to drag in the last quarter. The Americana here is a much better representation than can be found on other albums that are on the list. For example, this album far exceeds Ryan Adams' work. The music is well executed, and I enjoyed the soft electronic sounds that could be heard in the background throughout. Though I found it a bit dull in parts, I want to listen again to give it a fair chance.

This album is the prototypical pop-punk album along with Green Day's Dookie. There's no reason it should have been left off the original list. I do prefer Green Day to blink-182, but this is still a great record. I was definitely the target demographic, but was not into this kind of music when I was younger. I recognize now that this is a seminal album criticizing a cookie cutter suburban existence. Ironically, blink-182 themselves were criticized for their slick over produced sound. Regardless, this album manages to still sound energetic and potent with an added sense of nostalgia.

It's good to hear a Dutch group here. Their brand of P-Funk inspired funk/metal/rock does come off a bit cheesy at times. George Clinton's influence on this record is so apparent that it often sounds like they are imitating him. It's not bad by any means, but I'm just not sure what this is adding to the genre seeing as it came out in 1993.

This was a good alt country style album from a British band. Perhaps calling it country is too strong, but it certainly fits in with bands such as the Drive By Truckers. Lyrically this album was stark, laying bare the destitution and dignity of the forgotten and overlooked. The production is dated, but the album was still very good.

Not a bad debut. The influence here is primarily 2000s British alternative/indie rock but there is a nice punk influence in there as well. There were moments that sounded very much like the Clash.

This was pretty enjoyable. Bran Van 3000 clearly know their music history and are keen to bring in as much as possible. The breadth of the electronica was impressive and the quieter moments spoke to their ability to scale back when necessary. Though this album was about an hour long, it didn’t feel like it overstayed its welcome.

This album is caught between the pull of the Seattle grunge and later indie rock scenes. It navigates this with a sense of respect for the grunge past but with a clear vision of what's to come. Lyrically, this album is very striking in its portrayal of love lost, betrayal, and eventual retribution. It also has a political and anti-consumerist mindset that can be heard throughout.

This album is very deserving of being on the list. MF DOOM is always a great listen and his collaboration with Madlib is no different. The beats are fantastic with a heavy jazz and experimental influence. The comic book like narrative works well and I was so intrigued with the album that I immediately started it over for a second listen.

This was a great album from a band I’ve never heard of. The mix of dream pop, jazz, disco, and synth pop worked super well. The chord progressions were complex and thoughtful as well. Overall, a great synthesis of genre.

It’s strange that there was no blink-182 on the original list. This album is a more mature offering that shows better developed songwriting and expands their trademark pop punk into a more New Wave direction. It works.

This album was fine, but I didn’t think it added anything that the Garbage album on this list didn’t already cover. Having said that, this scope of this album is huge and the fact that it works as well as it does is a great achievement.

Really solid British alternative. It wasn’t doing anything new or groundbreaking, but the production, musicianship, and sequencing were among the best of its genre.

Decent balance between screaming and more melodic singing. Post-hardcore is a genre I have not delved into too much but I enjoyed this energetic album.

I’m not familiar enough with hyper pop to be able to discuss this in any detail, but I really enjoyed this album. It was challenging and engaging to the point where I had to listen to it again immediately.

Dub is not well represented in the original list which is strange because some genres that are well represented such as post-punk, drum and bass, etc. are hugely influenced by dub especially in the UK. This album was a lot of fun. The beats were great and I could hear so much of the seeds of music that was to come.

Incredibly, there is no Louis Armstrong on the original list. As one of the most popular entertainers of all time and one of the definitive voices and instrumentalists in jazz, this is a massive oversight to say the least. This album is a compilation of recordings made between 1925 and 1930. Musically it falls somewhere between dixieland and swing and represents an interesting transitionary period in jazz before it exploded into big band swing and became one of the most popular genres of all time. Indispensable is an understatement.

This album was not really for me. The music was well arranged, but it seemed to keep building with an unsatisfactory release. It is also very of its time which didn’t work for me in this case.

This was an excellent post-punk album. It is highly influenced by Siouxsie Sioux as well as Joy Division/New Order. The music is driving and expansive, but the vocal delivery really ties the whole thing together.

It’s really interesting to hear this album now because I’m honestly impressed this bluesy pop album heavily inspired by Hendrix and SRV was as massively popular as it was in the mid-2000s. Of course elements of this album are dated, but when John Mayer lays on the soul and blues, he does it with such fantastic phrasing; he never overplays despite his insane guitar skills. His slower more contemplative songs are great as well and his cover of ‘Bold As Love’ is phenomenal. I was really into this album as a young guitarist and I’m glad to see that it still holds up.

This was a decent 70s rock album with some great hits. Other than that, there’s not much here that distinguishes this album over other 70s commercial rock. I think one of Bob Seger’s live albums would be better suited for the list.

This was a surprising album from an artist I’d never heard of. It sits at the intersection of indie folk and neo-soul almost like Sufjan Stevens and Frank Ocean had a musical love child. It just works so well. The lyrics are reflective and insightful elevating this album even more. I listened to it three times today.

This album was not what I expected. It manages to avoid some of the pitfalls of early 2000s pop. It is a reasonable length and it manages to stay relatively interesting throughout. It’s not my favorite genre, but I’m glad to have listened to it.

This album is sparse with fingerpicked guitar and high almost whispered vocals. Angelo De Augustine’s influences are clear but I’m not sure he’s doing anything new here. I enjoyed the album he did with Sufjan Stevens but this is a bit subdued compared to that. There are really beautiful moments here and there are some interesting melodic turns. Though sparse, the music is actually very layered and benefits from headphones and close listening.

This was a good garage rock revival album with a decent dose of psychedelia thrown in. I heard a lot of White Stripes and Black Keys in this but there were some experimental elements that sets it apart.

The cover (reminiscent of Duran Duran's Rio) tells you exactly what you're in for. This album is a spacious synth pop masterpiece. The music is minimalist with some great orchestral touches throughout. I really like that this album is not afraid to lean into the ambient and instrumental aspects. There's a sense that everything here has room to breath and expand and the Chromatics trust their audience to go along with it. The result is something that feels very much like a night drive, how appropriate.

I’m not really sure how to judge this album. It washed over me for the most part and was fairly forgettable. There were some moments that I found very beautiful but overall it blended together.

This was a great album. I did not grow up with Earth, Wind, & Fire but have enjoyed listening to them. I’m more familiar with p-funk and Motown but this is much more smooth and produced. The horns are great and the whole album is very well balanced. I think I’ll be revisiting this one.

I know Adam Green only through his work with Kimia Dawson in the Moldy Peaches. This album was irreverent anti-folk and I found it pretty enjoyable. Its political commentary was very of its time and its vulgarity is not for everyone. However, it’s nice to be shaken out of one’s listening patterns every once in a while.

I will never say no to another B-52’s album. I think their debut is the better album, but this is still a great album. Their unique brand of proudly weird new wave/post-punk is fantastic and truly unique. Great choice for a submission.

This album should have been on the list. The production by Giorgio Moroder was fantastic and it represents a transition towards synth pop.

I’m a bit stumped by this album. It sounds like Peter Gabriel’s Genesis to a startling degree. I will say, the execution is great aside from a few errant rhymes, however, I’m not convinced this album is a necessary addition to the list.

I really like the first eight songs of this album, but it just isn’t able to maintain its momentum throughout. Additionally, there are some strange choices made in regards to vocal delivery. The pop punk esque screaming and rapping in ‘Slight Figure of Speech’ are certainly head scratchers. I don’t think this album holds a candle to other indie folk albums of its time.

I’ve never really listened to INXS so I didn’t know what to expect. This was a good blend of pop, rock, with a touch of funk. It’s very of its time, but was a fun listen.

This album is a lo-fi indie rock touchstone. It inspired countless bands and undoubtedly shaped the genre as we hear it today. Partly inspired by the Diary of Anne Frank, this album is lyrically ambiguous and has become known for being difficult to interpret. Musically, it ranges from rhythmic acoustic strumming, overdriven electric guitars, generous use of horns, and electronic touches here and there. Though some deem it overrated, I think this album has more than earned its place in indie rock mythology. The fact that it wasn’t included on the original list is a travesty.

It’s a decent enough album, but it really does start to blend into itself after a while. I like some of their songs, but They Might Be Giants has always felt a bit kitschy to me and that’s prevented me from getting into them.

There’s quite a bit here. There are elements of hyperpop, dubstep, and synth wave tempered by ambient elements and nature sounds. It works for the most part. I really enjoyed this album though I felt it start to drag by the end.

I really enjoyed this album from a band I’d never heard of. It reminded me a bit of Drive By Truckers. Musically it’s alt-country with some punk thrown in there to give it some bite. Lyrically the album seems to chart the course of a break up.

This album is one of my favorites that has been suggested. I had never heard of this artist but I ended up listening to this album three times today. This type of folk is raw and expansive. Grounded in local history, the perspectives come alive yet remain relevant. It’s such an achievement of a record.

This album was an interesting listen. It’s easy to place it alongside other folk albums that trended towards the experimental often incorporating jazz and classical elements. However, this album can earlier than Steely Dan for example making this a worthy inclusion on the list.

It’s a good live album, and the E Street Band is great here, but I don’t think most live albums belong on this list. There are some that are indispensable, but this is not one of them.

This album is my submission. I chose it because Sufjan Stevens has been incredibly influential within the indie scene to the point where his influence can be heard almost everywhere. His music spans folk, electronic, and rock and incorporates elements of theatre and conceptual storytelling. Carrie & Lowell came in the wake of a maximalist electronic album and stands in contrast as a minimalist folk record that still pulses almost imperceptibly with electronic beats. This record came out a decade after ‘Illinois’ and is a testament to Stevens’ ever evolving body of work and the consistency of the quality of that work. The Thematically, it explores the death of his mother and the complicated feelings left in the wake of the death of someone who essentially abandoned him as a child. Here we see some of Stevens’ best and most heartbreaking lyrics. As a trained writer, he expertly explores the winding path of grief marked by memory, self-destruction, and ultimately yearning for a relationship that never was. His use of religious metaphor in particular is resonant.

I enjoyed this album but don’t feel like I can give it an accurate rating. I do love the submittal of a non-anglocentric album though. I do feel like the production of this album is very of its time and may not be the best way to present these folk songs.

I was really into DMB in high school so listening to this album was a fun blast from the past. This is their strongest album thematically and musically. It is much more brooding and builds its song over time resulting in huge emotional releases. I think the derision DMB gets is often overblown as this album shows their ability to make a great album.

I’m surprised that this was not on the list. Tool is one of the most respected prog/alt metal bands. This particular subgenre of metal is not my favorite, but I still enjoyed this album quite a bit.

This was a fun album. The glam influence is front and center but what’s fascinating is how this album sounds like stuff that came out a decade later and to an extent is still being made. At first I thought this album was made in the early 2000s but was blown away by the fact that it was made in 1993. I enjoy chamber pop and power pop quite a bit so this was a great listen for me.

There a lot of really interesting stuff going on here. There’s some progressive R&B with a good dose of electronic, ambient, and jazz. What really stood out to me were the gospel chord changes throughout. What really stands out to me here is the use of changing textures throughout. It makes for an interesting experience that rewards close listening. My first listen through I was doing something else and the album didn’t make much of an impression. However, when I sat down and devoted my attention to it, it really opened up to me.

Not bad at all. This album has a lounge feel with some doo-wop through a British alternative framework. The result is an album with a sense of movement and mystery. It’s fitting that I got this album on the 55th anniversary of the moon landing.

Great to hear a Norwegian album. This was a great 2000s alternative rock album inspired by the British alt rock scene. The Baltic and Gypsy Punk influences made for a truly unique and interesting album at a time where a lot of bands sounded the same. This was a great recommendation.

This album should have been on the list. There is some proto-disco here with a lot of good funk and soul to fill it out. The first track is iconic and is the best song on the album. Nevertheless, the album remains enjoyable and energetic throughout.

I listened to it twice. I'm a sucker for PNW indie folk so it's no surprise that I really enjoyed this album. It's fitting that there are some punk influences as well recalling the Riot Grrrl movement also from the PNW. It's not the best example of its genre I've every heard, but I'm a fan of the mix of folk and punk. Heynderickx's voice is fantastic as well.

It's curious to me how this album has such good singles but is not super strong otherwise. It's sort of a late night synth pop album featuring trap beats and elements of New Wave. These elements are interesting on their own, but they start to sound the same especially over the course of 50+ minutes. There are a few stand out songs that break the monotony, and I believe that the Weeknd, as massively talented as he is, is capable of crafting more interesting music.

This album was all over the place and I loved it. It is a disconcerted industrial post-punk record that incorporates elements of noise and experimental music. The instrumentation was great and the vocal delivery was menacing and theatrical. What’s not to like?

This was a good prog/power pop album. It had shades of jazz, CSN style harmonies, and fantastic musicianship. The story itself is very compelling and allows Steven Wilson to explore themes of youth, relationship, isolation, and death. That said, there were some parts that didn’t work as well musically that really made the album feel disjointed.

I did not like Beautiful Freak at all so I was not excited for this album. However, this album is clearly better. It’s more interesting musically and had lyrics that are less self pitying. However, this music is very much of its time and the late 90s/early 2000s production style is very apparent.

I’ve never really listened to Death Can Fir Cutie outside of their massive hits. It’s fairly inoffensive emo indie rock. I was in middle school when this came out so just the sound of this is quite nostalgic for me. If I level with the material, I have to admit that it’s quite forgettable for the most part. I’ve listened to it three times today hoping to get something more out of it but aside for some moments on the back half of the record, it just blends together.

Great hardcore with some melodic touches. Not much to dislike here!

This was an interesting listen. This fusion of genres feels pretty typical for the time. There’s a mix of blues, jazz, Eastern European rhythms, and darker tinged rockabilly. It feels a bit too much like Tom Waits cosplay more than anything.

I have never listened to Primus before which is strange because they’ve been recommended to me quite a bit. This album is absolutely unclassifiable but has a distinct and unique sound. I enjoyed every track.

This album reminded me quite a bit of the Silver Jews. It has a diy folk feel but due to the frontman’s education in ethnomusicology, there are a lot of musical layers here. The lyrics are literate and witty as well. I really enjoyed this album.

This album was released exactly a week after I was born. Musically, this album is post-hardcore with some experimental and noise aspects thrown in as well. It’s not as melodic or catchy as grunge, but it’s still accessible. I found it to be a great and important listen.

This album brought me right back to high school. This album was released after Bradley Nowell’s death and is bookended by absolute hits. I was largely unfamiliar with the middle of the album and it fell a bit flat for me. I was surprised to hear more straightforward rock tracks as Sublime is known for their ska primarily. I’m surprised that Sublime wasn’t on the original list.

This is a pretty solid album with great beats by Madlib. Stylistically, I was reminded a lot of Wu Tang (having Raekwon on helped) and lot of Tupac. In a way, it was nice to hear these styles together, yet at the same time, I wonder why this was even needed. While the work is solid, it must made me want to listen to Wu Tang and Tupac. I wouldn't have believed this came out in 2014 if I didn't already know that going in.

I was in college when this came out and it was inescapable. Donald Glover’s delivery is clean, fast, and memorable. His rhymes are steeped in contemporary pop culture and are quick witted. His production is all over the place and incorporates a wide range of sounds and styles. This leads to some great moments, but also to some forgettable ones. He succeeds more than he misses though and though parts of this album weren’t as good as others, that album felt complete when it ended.

I’d like to think that the band is approaching this album with some self awareness but I don’t know enough about them to know. This album is transgressive lyrically, but is pretty typical goth rock with some late 90s/early 2000s alternative touches. Sometimes it sounds like basic commercial rock and other times is clearly leaning into gothic metal. The length was a bit much as well.

I really enjoyed this. I would have enjoyed more electronic elements like the first track had, but it was still a great album. The original list should have had some Phillip Glass or Steve Reich to add some contemporary classical.

The Lumineers' first album came out in 2012, the same year that Mumford & Son's 'Babel' came out. Incidentally, following that release, Mumford & Sons would completely change their sound and move away from the put-on stomp and holler sound that made them famous. After we collectively emerged from this strange time in popular music that saw the rise of commercialized neo-traditional Americana, this music began to feel contrived and fake. These artists may have been earnest, but the swift rise and fall of this genre feels suspect in hindsight. This album was released in 2016, well after this genre had its day in the sun. That suggests to me that the Lumineers, who still release on an independent label, are not merely chasing a trend. Though this music is no longer to my taste, I recognize decent song craft when I hear it. There is a decent command of tension building and release (something that I think was largely responsible for this genres brief popularity), and the vocal performances are occasionally great. The music itself falls firmly into stomp and holler indie folk, yet there is something in the piano work that suggests an early 20th century Tin Pan Alley/ragtime feel that was more present on their first album. This album is definitely front heavy, though I find that some tracks on the back half more contemplative and interesting emotionally. I still enjoy the Lumineers for nostalgia's sake and it makes me think back fondly to my undergraduate days when I was discovering music for myself for the first time when their first album came out.

For those who weren't raised only being allowed to listen to Christian music the genre hopping can be a bit puzzling. This is pretty typical in this kind of music. When music is being marketed to a certain group, in this case, evangelical Christians in the early 2000s, variety goes a long way for airplay, especially when you have a built in audience. This music was designed to be consumed by teenagers, adults, and was even played in some churches during services so there needs to be something for everyone. So here we have post-grunge, pop rock, pop punk, and more standard contemporary Christian music (think slower, lots of acoustic strumming, repetitive singable lyrics). There are moments that work, but overall, the genres do not play well together as an album unit. The lyrics are basic CCM fare; the world is bad and is unsatisfactory. I think they say much more about the Christian worldview in which they originate than the world in which we actually live. They're selling dissatisfaction along with the remedy. There's a line in the title track that really sums up this album for me, 'We're a beautiful letdown, painfully uncool.'

I usually am not excited to see a live album here, but this was fantastic. This is Bay Area garage at its finest. The arrangements and performance are tight, and even the improvisational sections are perfectly placed and never overstay their welcome. This band is known for their prolific output and genre breaking music. This album might be considered garage rock, but there are elements of surf rock, and hardcore here that work super well together. I’m really glad this album and this band have been brought to my attention.

Good album from a band I’ve never heard of. They expertly walk the line between psychedelia, Britpop, early 2000s British alternative, baroque pop, and ambient rock. Despite this great mix of genres, I felt like this album didn’t go as far as it could have. I kept waiting for it to pay off and though it was still good, it just didn’t have the release I was expecting as the textures and sounds built and developed.

I almost submitted this album. This album showcases Justin Vernon’s struggle with growing fame both lyrically and musically. Here we hear his voice, Bon Iver’s focal point, distorted throughout almost as if he’s hiding himself in the electronics (invented in house by Chris Messina by the way). The tumult can be heard throughout, comes to a head, and dissolves into the final song where we finally hear the man himself without the artifice. That’s not to say the electronics only serve the purpose of obfuscation. They also turn sound into a kaleidoscope as heard on the penultimate track where one saxophone is transformed into many. I had the pleasure of hearing this album played through from start to finish at Oakland’s Fox Theater and I can attest to its power and masterful use of tension and release.

It’s interesting to hear a 90s album from Seattle that is somewhat anti-grunge. After listening to this inoffensive alt rock/power pop I can definitively say that grunge is the more exciting and groundbreaking genre. However, this album is not bad. It is very melodic and has moments where you can really hear the divergence between them and grunge though they share a lot of the same influences. At the end of the day I think this album is just too middle of the road. It has heaviness, but is not explosive as grunge, and it has melody, but not as fully developed as Britpop.

This was a great album. I wish the original list had included more music like this. Musically, I was expecting a ranchera album based on the opening, but was pleasantly surprised when the ska kicked in. The high energy was maintained throughout as well.

This is a super influential indie electronic album. There seems to me like a decent amount of influence was taken from video game soundtracks which was interesting to hear. There are some very strong moments on this album, but there were a few areas that didn’t land as well for me.

I’ve listened to this album many times just this year alone. It’s not perfect by any means but is so ambitious that I find it to be one of the Decemberists’ best. It’s a proggy folk rock album that follows the story of a doomed couple. Shara Nova’s guest vocals alone are worth the price of entry.

This album is a little Britpop, a little jangle pop, and a little indie electropop. There are a lot of influences floating around here and it is fairly cohesive. It is a bit bland to me, but perhaps that’s because so much of what is in this album is taken for granted in today’s indie music.

This was a fairly standard new wave album. It was a fun listen but I didn't really hear anything that adds to the original list. Always good to get another Australian album though! The list is too heavily skewed towards the UK and the USA.

This was fairly generic 70s hard rock. It was well made but nothing really stood out to me.

This album is almost an homage to soft rock and synth pop while remaining lyrically interesting. It took me a while to get into the album, but once I did, I enjoyed it quite a bit. It’s unique while still feeling familiar.

Marcus King is a hell of a guitarist and singer. He expertly navigates between blues, Americana, country, and even funk/motown. This album was a great pick from a genre that is underrepresented in the original list.

This album is a little jangle pop, a little new wave, and a bit ska. It’s a good distillation of guitar centric music in the 80s and comes from a band I’ve never heard of. Overall, it’s really enjoyable and has a great sense of melody with solid backing musicianship. I’m not sure it adds anything new to the conversation, but I’m glad I was exposed to it.

I remember when this album came out but it was not something I listened to at the time. It's a good 2010s indie rock album with hints of psychedelia and synth pop. When this album is good, it's really good, but I find most of the tracks to be forgettable. It's critically acclaimed, but I think it may be overhyped given the date on this album and the greatness of the music that inspired it. Nevertheless, it remains a touchstone of the mid 2010s.

Vampire Weekend is one of the most important indie bands from the last 15 years and certainly deserves a place on the list. Their sophomore album continues their indie Afrobeat sound and leans into the melodic sounding like Paul Simon at times.

UK rap is super interesting because it leans into the electronic side more heavily than American hip hop which began by sampling soul, funk, and R&B. This key differences changes the feel of the music in an important sense. Kano spans genre (including a Black Sabbath sample), but feels most at home with industrial electronic beats. This is a great grime album and though I don't think its the best of its genre, it was still a fun listen.

This album is an updated heartland rock for the 21st century. It has decent guitar work, strong melodies, and is varied enough to stay interesting while still having a cohesive identity. So much of this sound has been done since that it’s hard to review this fairly, but it is a good album.

Not too bad, but after two listens, nothing really stuck with me. It’s a fun nautical themed soft prog album though and that’s quite unique.

I love atmospheric post-rock. This album will be added to my rotation and I am excited to explore their catalog further. This album is cinematic, expansive, and incredibly poignant. The emotional release is staggering.

Not too bad. Always good to see a band outside of the US or UK. The original list was definitely not lacking in psychedelic rock so I’m not sure what this album contributes. I will say that it was better than a fair amount of albums on the list though.

This is one of Jimmy Buffett’s strongest albums. The back half is insanely stacked. I went through a period of time where I got really into Jimmy Buffett. I was working a dead end job and was trying to figure out what I should do with my life and this music was a gentle balm during that time. I knew the music wasn’t the best, and it was certainly not my usual fare, but it reminded me that there are more important things in life than how much money I made. I even made my down to Key West via Miami during this time in my life. I’ll always be grateful to Jimmy for that. RIP.

I am not a fan of Korn. I disliked the album that was on the original list and I disliked this one immediately. However, this album is a better choice than 'Follow the Leader' and is overall more coherent. What I was really struck by was the honesty and raw vulnerability in the lyrics. The themes of bullying, and the culminating track highlighting the sexual abuse that Jonathan Davis suffered as a child really stopped me in my tracks. It also changed how I view this band. I also come from a town in California's Central Valley and understand just how bleak and futureless it often felt growing up here. Drugs took a lot of the people we grew up with, and many more were/are hurt by those who should have protected them. When I hear Korn, I hear people I know who suffered in a similar way. Four stars and I hope these guys are doing well.

For a live album, this was recorded very well. Phish sound great and the musicianship is outstanding. The biggest drawback of course is that this album is over two hours long. Despite that, it wasn’t as much of a slog as I was expecting. I’m generally not a fan of jam bands, but this was much more tolerable than most.

The Led Zeppelin influence is very clear here. It’s as if 70s hard rock was rolled into a single guy through a pop lens. The result is a very listenable and concise album. I’m surprised something like this wasn’t on the original list.

The original list was definitely lacking in music from Asia which has a storied music industry and is producing the biggest bands in the world right now. This J-pop album is not my thing, but I really enjoyed its use of melody.

This album comes so close to being incredible. It starts off with an almost Springsteen like heartland rock before moving though indie folk, pop punk, and modern indie rock influences. There’s a fair amount of U2 in there as well. I was really stuck by its earnestness as well especially in a time where it’s not cool to do so. It’s just a bit too bloated which is u fortunate because it has such potential.

This was a great New Wave album that managed to keep a little punk edge. It reminded me a lot of Elvis Costello as well. It had a great sense of melody and the extended album with the live versions of the songs was great as well. I listened to it twice.

This was such a fun album to get. I’m a fan of Snarky Puppy and really enjoy their take on jazz/funk. The virtuosity throughout this album and the tightness of the group as they sail through tight passages and rhythmic changes is unmatched and is thrilling to listen to.

This is a great album that incorporates indie folk into a more explicitly Americana base. There are also touches of British folk revival and outlaw country. The result is a lush and beautiful album helmed by two strong voices.

I was not expecting something like this. It is a combination of black metal, dubstep, classical, and baroque music. It also works incredibly well. The transitions are drastic but not in a way that clashes and Igorrr manages to bring the old and new together in a coherent and novel way. I listened to this album twice, one right after the other, because I enjoyed it so much.

There’s not much about this album that stood out to be upon listening, but a good reason for that is how ubiquitous this sound became. It’s well executed jazz/easy listening that has some very fine moments,

This was a surprising album. I went into it totally blind without reading any background information so when well arranged prog about the works of Eggar Allan Poe came on I was really into it. It dissolved into a classical arrangement for the final suite giving a sense of space to the whole thing.

Decent enough pop music, especially given the fact that Debbie Gibson wrote and produced this album at 16. The lyrics seems a bit too all knowing for a 16 year old, but jokes aside, this is quite an achievement. I’m not sure it belongs on this list though I do hear the seeds of later 90s and early 2000s pop here.

This was a great dub album. For the breadth of its influence on popular music, it’s surprising that the Jamaican subgenres were not well represented on the original list. I’m not as familiar with them as I should be either so I don’t feel qualified to evaluate this album, but it enjoyed it quite a bit. Dub in general is very rhythm focused so the music has a stripped down driving quality that became very influential.

This is an incredible album that should have been on the list. This absolutely transcends genre while being recognizably Latin rock. I don’t have the knowledge to tease out the various Mexican genres, but can hear the blending of alternative, pop, and metal throughout.

This is a great folk/soul album. I don’t think many people realize how much influence black folks have had on what we consider to be American folk music. Much of what AP Carter and Alan Lomax codified as American folk music was directly recorded from black people in the rural south. As someone who plays traditional American folk music, I care about the truth of where our music comes from and whose story is being left out. Valerie June is reclaiming that story and I’m glad she’s represented here. Thank you to whoever included her!

This album was fairly basic college rock fare. I listened to it twice but both times I couldn’t really get into it like I wanted to. Also, 1998 seems a bit late for this album. Music like this was being done a decade earlier. I did enjoy some songs in the back half quite a bit though.

I can see this album being important if heard at a certain point in life, but it just doesn’t resonate with me in that way. I enjoy the sardonic delivery and lyrics, but the album is too long. However, it does anticipate indie folk that would develop in the decades to come.

This is a great example of new wave. Danny Elfman is best known as a composer but his music made for mainstream consumption is catchy, well-produced, and very well constructed. There are many layers to uncover in every song and the rhythms and melodies are interesting and weave into each other very well. In a list full of new wave, this stands out.