Only really know the hits when it comes to The Smiths so was great listening to a full album of songs I didn't know. Great listen overall.
Was never a big Coldplay fan but it was interesting to listen to this. A lot space-ier and chilled than what they're known for now. Not a converting moment or anything but still a not unpleasant listen.
Excellent album. Yes Seven Nation Army is overplayed to the point of parody now but the rest of the album has songs running the gambit of fuzzed out blues, heartbreaking acoustic and jangly noisy garage punk. Even Meg sings and I didn't hate it even if it did remind me of The Shaggs at times.
Fantastically weird quirky pop. Its pop music written by music theatre nerds who listen to Yes.
Really nice bit of 60's pop, you can actually hear how they influenced bands in the future.
The album was released on September 11th and it sounds like the last album of the late 90's/early 00's optimism. The samples and the beats are huge and lush with Kanye's tracks being standouts for his use of samples. Its an album that both the final chapter of 90's rap but also starting the transition as to how rap was going to go for the next decade. Essential listening for those wanting to get a better understanding of hip-hop.
Its was ok, I couldn't really get into it and I fully blame my more "western" tastes.
Liz Phair walked so that Garbage could run. Suffers from the problem with first albums where Liz has recorded nearly every song she's ever written so there's a real mess of genres and songs that probably could of been cut with no great loss. Overall I'm enjoying listening to this
Couldn't get into it. Might work as background music but that's about it.
They always say to try and separate the art from the artist but as someone from Northern Ireland who has had to listen to the drivel coming out of "Van the man" in the last year and a half and having friends who have had the misfortune of trying to serve him in the various cafes and restaurants he frequents it is hard to appreciate the music when the man behind it is just such a massive ballbag.
Genuinely a little surprised by how much I liked this album. For an album clearly recorded to be listened to whilst high, none of the songs stayed around too long and flowed nicely.
The bleeps where very bleepy and the bloops where just as bloopy. Not something I would of seeked out but glad I gave it a listen.
Just good old fashioned garage rock played with all the all the rawness of a live set in the studio. The Beatles made these songs sound better yes, but I would of rather seen these guys live around the same time.
According to Robert Smith it was either he makes this album or he was to commits suicide and you can hear it. This album is heavy and feels like drowning in tar. Fueled by LSD and booze, it really does sound like something you write while in the deepest pit of depression but you decided to fight your way out of it. This is Smith's fuck you album and it hasn't lost any of its raw violent edge.
Without sounding too dismissive this album sounds incredibly beardy. Folk music obviously has its place and this is a way of updating songs written in the 1600's but listening to it in 2021 you can almost hear the scratchy jumpers and people drinking cider that was in some guy's shed using a bin.
Sounds like the sega game Streets of Rage's soundtrack and I'm all down for it.
Bleaker than a 2008 financial report but performed in a way that feels more like they're afraid of their favourite late night coffee spot closing or the girl they've been stalking on instagram finally blocking them. This was the album you heard coming out of your weird hipster housemate's room at uni.
I think this album sounds like a band right in the depths absolutely marred in the depths of heroin addiction (well, cause they were). The album is pretty much split in two halves with the first half being this absolute clusterf*ck of funk rock that gets very wall of noise very quickly. The second half is this trippy prog rock that delves into the low parts of addiction and death. Listening to this it should be pretty apparent why Navarro was never going to be a good fit in RHCP. He's an excellent guitarist but it comes at the expense of writing memorable hooks. Good album but nothing that demands a second listen unless you're a fan of this genre.
The Minutemen were well documented for trying to get their money's worth with both recording and touring. This is no finer example with an absolute boatload of songs most never staying longer than a 1:30. The problem comes where a lot of these feel more like a collection of ideas rather than a coherent album of songs. However listening to this album you can hear a lot of the starting points and foundational ideas that permeated through the college alternative and indie of the following two decades. A lot of bands took this collection of ideas and made whole careers out of them.
The album starts off at 100 mph but just seems to loose pace and slows down to a crawl. Supergrass were one of those bands that didn't seem to get as much of the spotlight as their britpop counterparts save from their song "Alright" which is pretty much a staple of every 90's playlist. This album kinda shows why as after a blistering start it just sort of deflates.
This sounds like something that was programmed on an amiga in the early 90s. Reminds me of the old streets of rage soundtrack on the sega. Good for what it is but maybe the influence is lost on me.
I mean, its Abbey Road, giving it anything less than a 4 would be deemed sacrilege. The Beatles have had more ink and pixels dedicated to detailing every single inch of recorded tape than any other band. If George Harrison farted during a take, that fart would have its own wikipedia page. Is the album perfect? I don't think so, by this point The Beatles couldn't be in the same room as each other and I think at times it shows. Maxwell's Silver Hammer if it was released by anyone other than The Beatles would be a quirky late 60's/early 70's top 10 that would be a tough question in a pub quiz. Ringo managed to contribute his best and worst as well, best being the iconic drumming on The End and worse being well, you know what. Overall this album shows a fractured Beatles trying to "come together" and at its highest is magical and its lowest its Maxwell's Silver Hammer.
It says a lot for the over simplification of the grunge genre that Screaming Trees, Melvins and Soundgarden were at one point under the same banner. Mark Lanegan's voice is smoother than silk and is the main reason you should listen to this album. But the band also has some real chops and this is a real slice of early 90's rock/alternative.
Not recommended for listening at your desk first thing on a Tuesday morning. I mean, it is, this is a great album but holy jesus will your day be kinda melancholic for the rest of it.
Not for me, can see its importance but its just a bit too 60's english for me.
This album is so bittersweet because it was Janis finally getting in with a great band and a great producer and who knows what the follow up could of been like. The instrumentation is A tier and her voice is just so uniquely hers that anytime you hear it you have to go for a Joplin binge. Brilliant album.
This album reportedly cost well over a million dollars to make. At least a third of that probably went up Lindsey Buckingham's nose and it shows. Double albums are always the product of ego being mixed with a blank cheque and rarely does it actually produce two albums worth of songs. This is coked out excess about 6 years before it was popular.
This reminds me of every "hip" coffee house from the mid 2000s. Perfect music to listen to when trying out this new thing called "smashed avocado".
