1001 Albums Summary

Rumblingly, forebodingly dark – mostly  in a good and contemplative way – holds up well.

Just what one wants from dub – deep, steady chill, with just enough darkness to freak one out if one gets too stoned.

Not bad, and better than much of this ilk, because of some arty-ish resonances, but too bassy-bouncy in that alt-rock/nu-metal kinda way. Ultimately, meh, and one gets put off by the over-seriousness and intensity this lot is into.

Was a nice little record in the '90s – easily digestible and amiable indie rock – and remains so today. One always liked the title and the more Eliot refererences in pop music the better, but nothing really to get too excited about.

Cover looks sharp and – more importantly – music sounds sharp. Tight, vintage new wave before JJ became relegated to poor man's Elvis Costello territory. "Is She Really Going Out with Him?" is a classic. "Sunday Papers" also strong, but every cut is polished, tight and – yes! – sharp. Definitely would be a good fit on official list.

Some decent tunes here – "Spaceman" is interesting and "Lonely Sky" emotionally engaging and "Going Home" moderately sweet – but the weird and theatrical cuts (opener, "Stripper" and "The Tower") that are way oversung – like Meat Loaf-lite – overwhelm with a typically '70s sense of excess. Def does not belong in the real list.

One realizes VW is polarizing, and one gets why the haters hate, but one's a fan – full-on. This is smart, interesting, original (enhancing what's templatized or used as foundation), fun. This sparkles and shines and is hooky as hell. Definitely merits a spot on the official list.

All the usual jam band features and bugs – some intermittent moments (how could there not be, given how much they throw up against the wall?) and the sax playing (though there's not enough of It) are in the former category; the indifferent vocals, silly lyrics and quotations ("Pink Panther" theme, really? and a "Ghostbusters" cover is likewise a hard no) and cul-de-sacking of so many musical ideas would be in the latter. Also, dumbest name possible – were these cats named by the same people who overreach in naming minor league baseball teams and craft beers? Does not belong on the list proper. The rating of 3 is generous, in respect of the feelings of jam bandy friends.

Achieves a comical sort of grandeur, which maybe is the end game for symphonic metal. "Finland's most expensive band" has a nicely Spinal Tap feel to it, no? Definitely does not belong on the list proper.

ST being one's ex-wife's favorite artist isn't the only reason this record sucks, but it's hard to overlook. It's baffling to think someone with sufficiently expansive musical interest to complete this list would choose this bit of synthetic country-pop as a meaningful addition. There's not accounting for taste, obvs, and one doesn't wish to be snarky, but it's safe to say history won't look kindly on ST or Mutt Lange.

At first glance, this sounds like a straightup Queen cover band, which is offputting enough, but then the polish and quality comes through and one gets to liking it, rather in spite of the heavy production hand, but then one gets to not liking it again for its insistent maximalism. Excess and great craft aren't necessarily mutually exclusive, but they make the latter hard to achieve and sustain. Being kaleidoscopic is hard enough, and the goal of trying to appeal to all tastes works about as well as trying to be everything to everyone. This is simply too much – borderline showoffy – to be truly one's thing, alas. There's sweetness in the melodies – one woulda like more or "Russan Hill" and "He's My Best Friend" [near Queen ttile] and much less of the stupid alt-rockiness– and an overall richness. A case could be made that this probably belongs on list proper but only just. Rounding up because one supposes this has been underappreciated enough.

Spiky and thrashy, with a plethora of tough, hot licks – very much the kind of thing people who are into this sort of thing will be into. A slightly artier-modernized (with some temps and shifts pauses that were probably intended to calm the audience and make them stop moshing for a second and think [or perhaps not] ) take on the basic punk formula of shouty vocals + shearing guitars + bashing percussion, which in this case mostly equals tunelessness, pointlessly angry posturing and unconvincingly (if gravely) self-seriousness. Not one's thing – hello, melody, hello structure – though the record is better (more precise, cleaner sound – probably thanks to Albini) than one remembers their early '90s live sets (which one had to endure as a nightclub deejay at the old Masquerade haunted house in the ATL – maybe one once had a viable OSHA claim). One senses a clear plan – in other words, the chaos is surely contrived because this feels too willfully difficult, to specifically unpleasant and voluntarily abrasive. And it goes on too long, for sure. Age may have tempered the shock value a touch, but this definitely does not belong on the list proper.

On first reaction, this just can't touch the first few records – for emotional depth and authenticity, spare and ghostly impact, and originality. One's all for artistic evolution and experimentation but this more than once or twice feels a little too much like a lab project – and one can't abide much autotune, especially for those artists that need it. Multiple listens reveal a quiet and haunting power in all the fragmentation, and a most human reaching under the science-meets-art-song facade. Several other of his records merit inclusion on the list proper, but this one does not quite get there.

Stately and spiritual metal, rather than speed and thrash, with some quietistic variety ("A Pitcher of Summer," "The Antique") adding to the thoughtfulness and interest. It's still not remotely one's thing. And so only belongs on list proper if it were to replace another metal record -- any of them, really, Metallica, Pantera, Slayer, Motorhead or that awful Brazilian band whose name one shall not speak – this is a full shout better than any of those.

Knottily groovy and psychedelically serious. Not bad but not great. Krauty for sure. Borderline as to whether it belongs on list proper, but probably not.

High-energy and spiky, this is solid alt rock with an arty patina and a foot in the indie rock world, which much improves the overall output. "Passion and polish" (AllMusic) is about right – there's plenty of both (and maybe slightly too much polish as one can't quite love in late middle age as it's relentlessly driving [though perhaps a younger one might]. The playing is tight and assured – not a foot is put wrong. One's pretty good on the singer – but understands why some may not like him. "Blue Light" and "This Modern Love" ["baby you've got to be more discerning" = words to live by] and "So Here We Are" are best cuts (per usual, one likes best the tunes with the moderated tempos), though the opener is strong, too. Cool cover, too.

This is a great example of why this exercise (including the bonus content) is worthwhile: one simply didn’t realize how good PH were/are and multiple listens of this record are rewarded. Certainly, they compare favorably to Traffic, say, and even the Kinks. The influence on Genesis and that ilk is clear, too – indeed, this might be best described as a proto-prog, though it’s calmer and more focused and less showy. The variety of the songs, all of which are thoughtfully conceived and quite effectively played, is a strength. “The Milk of Human Kindness” sounds like music hall meets prog and next up is the lullaby-like “Too Much Between Us.” The vibesy flute-marimba-and-bongo fest of “Boredom” is pure delight. The segue from the psych-blues of “Juicy John Pink” to the Bachian fugal opening of “Wreck of the Hesperus.” And then the liltingly contemmplative “Pilgrim’s Progress” is quite the strong closer. Great add. This would make a nifty addition to the list proper, and the not-bad debut album is almost as good, though a bit more straightforward and which one swore was on the original list. Anyway, thanks for adding this whoever did so.

Good with any band that names itself after a Shakespeare play. Bonus points for being so Pogues-y and for being a historically informed concept album (best-ever about the War Between the States?). And still more bonus points for for false-flag title of “Theme from Cheers.” The hard rock-emo combo works okay, and one likes the raucous, stewy feel of the songs, how long they go on. It's all quite pleasingly maximalist — and all-in operatic. What Green Day might have been. Only question is – does this guy sing like Conor Oberst or does Conor Oberst sing like him? The perfect sort of band to see at festivals. Good recommendation: one will make a point to hear more of this group. The list proper would be much improved by flipping this out for any of the D. Albarn side projects ... or even his central project. (In other words, this is def better than Blur.)

Yearning and minimalistic R&B/neosoul. Not the worst (or probably the first) of this sub (or sub-sub) genre. Very good voice, thoughtful pacing and tempos. Solid and certainly smoky. "Softly stunning" (Rolling Stone) feels a slight overstatement, though one's glad to know this, which doesn't sound at all street or hood-y.

Generally fun, lots of crispy-tight songs but too much and too many things going on.

Amazing that a 12-year-old girl completed the full 1,001 project because who else could have recommended these schlocky dreamboats? Speaking personally, one still views the Monkees as the greatest ever boy band.

Soulfully strong and Southern. Seems so historically informed and pristinely authentic to 1972 Muscle Shoals vibes as to be a museum piece. "Homesick" is first-rate, as is "Side Door." Not sure it quite merits inclusion for the list proper, but it's certainly not far off and one's very glad to know it. Saw this guy live a year ago and was moderately impressed, but much more so now after hearing the record.

Breezy, tuneful and highly enjoyable. So right up one's alley that one wonders how one's never heard of this lot. "Animal Cannabus" and "Strangeways Inside" are particularly polished and assured – damn near transcendent, in fact. And why do all the best indie pop bands of this era (and adjacent years) all seem to be Scottish (Belle & Sebastian, Camera Obscura, Trashcan Sinatras, Arab Strap)? This would make a great addition to the list proper (in the hidden gem category).

Impressive, and a lot to like but also a touch overdone. Opens like Quadrophenia. A lot of strong passages but stuff that also loses a listener not fully bought into the plot. Not quite worthy of list proper one would say, though one might be tempted to listen again and seek out tunes by his real band. (And don't sleep on Stephen Wilson, Jr., strong emerging country artist.).

The opener engages immediately – right up one’s alley. Love the talky Callahenesque, Kozelekian, Bermanesque vocal style and the lyrical content is Le Carre meets theater of the absurd. Just great. Rest of the record overindexes on the zany rather than the wry. But last two cuts – "Travel Writers" and "Industrialists" – really redeem. Strong all the way around. Great choice -- one's very glad to know this lot and will dig more in future. Could certainly see on the full list. Besides aforementioned, one's tasting notes reference Pavement/Silver Jews, Cake, Johathan Richmond, Lambchop, all likable referrents.

Was gonna say likable but generic. But after a bit of research, it seems better to say, likable and genre-creating. And further research indeed confirms it's better with a room full of ganja – so likable, genre-creating and ganja-enhanced. Conclusively belongs on the list proper.

Great choice, if only for the cultural impact. Remember it was great music first – if cuts were dodgily chosen cuts, then they were played with great verve and sharpness and probably more irony than was recognized; the game show and sexual revolution tie-ins came later. Hard not to like, though the silliness trumps the seriousness in the end and it's hard to know whether its mass popularity is a good thing or bad thing, whether it's an indicator of sophisticating tastes or the widespread public susceptibility to being sold anything.

Richly tuneful, intriguingly melodic, dimensionally complex, with just enough drive and melancholic minor keys to make for a most satisfying listen. Can world music be said to be worldly? Or is that the desired effect for the target audience? Which might help explain the slight guilt/embarrassment one always feels listening to (what was one called world music or anything released by Putumayo). Would hold its own on the list proper but doesn't feel like an imperative add.

At first glance this reads simply as more serviceable and fairly typical psychedelia (bluesy-garage guitars: check; sitars: check); another record/artist that’s been mostly lost (or just forgot) from the Age of Aquarius, and that doesn’t necessarily feel full-on essential. Certainly it’s of interest to scholars of the period and deep-divers/aficionados/nerds of the genre (and/or affiliated subgenres). But deeper listening reveals a superior and more varied effort. Maybe one could say the bassline on “Walter Sly Meets…” points the way forward to the foundations of driving New Wave bands. Maybe one could say “Mary Jane” swings sweetly and that “Flames” a tight, driving hit-worthy cut, to which one can imagine go-go-boots-wearing birds having a good and sexy time on the dance floor. The lighter-poppier cuts – ”What’s the Point of Leaving” and ”Long Nights of Summer” – are more than competently executed, if not quite achieving unforgettability. Could add that “Reactions” offers lyrical quality (“Don’t ask for love/that would be impossible” and “You could offer the world to me / But I wouldn’t care”). But honestly one can’t go much farther than that. On list proper, maybe there’s room for this or the Electric Prunes or Moby Grape or Monks, say, but not both (or three or the four). Personally, one finds EGVO richer and better listening experience than any of those, largely down to the varieties and sense of control (they overdo nothing, save maybe the intro). NB: the silly/complex name is an issue, obvs, likely contributing to their being forgotten/overlooked despite one’s being fully down with Sinclair Lewis (Arrowsmith being his best novel).

Has a savvy and well-moderated sort of majesty and generally avoids overreaching (so not too proggy), while offering many pleasingly expansive riffs and grooves (so sufficiently proggy). The harmonies of the dual lead guitars work fabulously well, adding bracing richness and intriguing contours to the powerful melodies. "Time Was" is likably dreamy and sweeping in its reach, then goes a bit hard before segueing niftily into the slightly more contemplative (and lovely) "Sometime World," which then all-out explores Yes territory (mostly to good effect) with extensive and intricate (and non-embarrassing) solos. "Blowin Free" feels more jammy (with vaguely Southern rock overtones) than proggy. "Leaf and Stream" is thoughtful, haunting, shadowy. The "ancient Greek" cuts aren't exactly Homeric to one ear's (nor Hesiodic for that matter) but don't have to be because they're cool and interesting. One likes the stateliness of this record much better than their influencees – Thin Lizzy lacked this depth and maybe the Iron Maiden dude is confused about which band / record influenced him. It's more like Rush or Triumph (less the insistently shrill vocals). This would fit nicely on the list proper, especially if it replaced some of the non-essential prog (looking at you ELP).

A spun-sugar pop confection. While they sound fun and sweet enough, one recognizes that the basic problem might be that one never kissed anyone on a teenage summer night whilst listening to these precision-engineered songs. When she gets older, maybe she'll come to know that love doesn't require this level of energy or BPM. One would also be interested to hear her do a version of Chet Baker’s “Let’s Get Lost.” No need for this on list proper.

Perfectly chill and relaxing. Also anodyne as all get out. Hard not to like, but also hard not to be underwhelmed. "Staple It Together" and "Crying Shame" suggest the what was possible had he gone a bit darker or funkier. Still, it's not exactly sinister. He does it make it look easy, however, and there's something to be said for this. Plus, one's kids dig JJ so going with a soft 4. The list would be improved by adding this, especially if it replaced some of the more pointlessly angry punk records, any of the bludgeoning heavy metal tracts or Scott Walker.

Seems complete to one's ears, given its excessive layering and somewhat giddy and relentless tinkering-ness. But sure, one supposes it coulda been clearer/cleaner in overall sound, though one's not convinced it woulda been any stronger, actually. There are decent hooks and here and there and it's fully vibesy in a way that woulda felt new-different in 2013, but this is entirely too synthetic for one to feel much personal connection. One could get behind this replacing NIN or Marilyn Manson but otherwise the list proper will have to do without Jai Paul.

One digs the overall vibe and appreciates the calm and refined playing (e.g., horns on “Anyone” or strings on several cuts.). The shimmering strings that lead the fade out off “Feed the Light” are just lovely. “Sweet Thing” puts one in the mind of PJ Harvey’s quieter younger sibling (and “Endless Supply of Poison” sounds like PJ Harvey herself and thus feels a bit out of place here). Though one wouldn’t mind slightly more tunefulness overall, this is consistently strong and interesting and well worth knowing – thanks for sharing whoever recommended – and would certainly enhance the list proper (especially if replacing any of the heavy metal albums, say, or Alanis M).

However much it's said to be influenced by MBV, it should have been more so. One's intrigued by how far away the whole thing sound – the effect of a hushed distance prevents one from feeling overwhelmed by the heaviness and volume. "Dying in A Minor" sums things up pretty well. Still, it's better than Metallica and list proper might be improved by such a switch-out.

Cannot countenance. Zero stars.

Dear fellow child of the ‘80s, thanks for recommending this. Really enjoyed listening for the first time since … well, the ‘80s. It was so big that it probably merits inclusion on the list proper, though it can’t really be said that it’s held up all that well musically, which is no surprise given that time had already passed him by before one graduated high school and he never caught up. One shudders to think where he might be touring today. While he’s certainly bigger than Tommy Tutone, it’s an issue when “similar artists” queries turn up Loverboy (yikes!) and Pat Benetar.

Decent hooks and variety of dynamics, but the screaming gets old fast. Might've it been better as an instrumental record? This is very much not one’s thing, never was, and so one can’t speak to “influence.” Production is notably superior to the music making, at least to one’s ears. And if you’re going to have such a title, the music should be better.

Really lacks flows (save for the last song, title cut, which is easily the best track on the album) and feels like an overwritten, excessively talky novel with greater ambitions that it can execute. One completely misses the value and appeal of the real-time effect, which asks a lot of the listener and fails the "so what?" test. And Waters' voice grates in direct proportion to one's interest in the plot. Sanborn and Clapton both make decent contribution.One likes the choice (having enjoyed the reocrd in the past) but struggles to get too excited about it now (and even RW seems to have downplayed its quality within a decade of release, which tells one all one needs to know, really). Certianly The Final Cut is a superior effort (which maybe Waters did too since he recycled some of melodies and lyrics here). So don't think this belongs on list proper, though The Final Cut certainly should soon. For the record, one prefers the nudie version of the cover.

This is tense and dynamic and spiky – quite Slint-ian and vaguely Pere Ubu-esque in effect. The screaming early puts one off, but it gets better with slower/sparer passages (see "Sensible" and "Lady Elect") that suggest thoughtfulness and contemplation and ultimately deliver something like majesty. One would certainly trade this any of several other early punk bands (e.g., Minor Threat), primarily because it might merit a second listen.

Lovely and life-affirming from the first note, this is beautifully/gently vibesy and cerebrally dreamy in the extreme and an epic sort of statement by a major, major talent. The lilting, sneaky-intense “Back to Oz” is top cut. One’s reminded of the need to go both deeper and wider in the extensive discography, though it’s safe to say that it might be a little samey, having heard a good bit of it already. Overall, this is a great add — thanks for sharing/nominating. Would be a strong add to list proper.

At first glance, one feared/assumed this was the eminently forgettable Skinny Puppy (though this band name is slightly worse than that already lame one). At any rate, one was quite relieved at the expansive and exploratory playing which offered some transcendent moments on synth solos, wah-wah noodling and sax outpourings. Not to get all semantic, but one finds this considerably more jammy-proggy than jazzy. (Kamasi Washington would be a better representative of that esteemed but underappreciated genre, or Robert Glasper or Esperanza Spalding or Chief Xian aTunde Adjuah or even Gregory Porter and Cassandra Wilson). Still, this is a strong add and one plans to go a bit deeper into the Snarky P catalogue.

Punk band decides to go disco — film at 11. And did someone say Giorgio Moroder? He would make Beethoven’s 5th sound like this. Just way too synthy for one to get into or take seriously, but yes, sure, for 1979, it sounds awfully 1981, or '82, or '83.

Smart, sarcastic and tasteful pop. Knew earlier records and was long on the Housemartins, but didn't know this effort, which one digs considerably. Very pleasant to hear musically, the smooth surfaces belying the rather darker and more troubling lyrical material. Heaton as the Bristish Randy Newman, maybe? Good add -- thanks for sharing.

Historically interesting (particularly as bootleg artifact that got mainstreamed, basically), but musically inert and flailing (if any can be such at same time). Interesting that bikers seem to want "Louie Louie" (which alway's considered a fave for '50s-'60s frat boys and other squares) and that Izzy mocks crowd by touting his take on the night ($10,000, a figure about which one is skeptical, to say the least). Perhaps he was better as a mockingly crowd-controlling emcee than as a vocalist. This doesn't belong on the list proper, and is only for fans, as others have rightly pointed out). of course, as a non-Stooges fan, one doesn't think any Stooges records (and certainly not more than one) should be on the list proper, given how they've gone from once underrated / forgotten to significantly overrated / overexposed.

One knows he’s a phenomenon but one doesn’t fully get it and so struggles with this one – and with this style/genre and era of popular music, the sort of synthetic sheeny-ness of it (which is meant to be futuristic, one supposes). One also doesn’t know whether Weeknd or Frank Ocean (or know who came first or is one is derivative of the other). And Janelle Monae might be better than both. Dream pop? More like dream pop simulation. And certainly don’t get the psychedelic vibes some reviewers cite – today’s younger listeners (and reviewers) may simply be confused as to the meaning of that term. The boasts are tired and not credible in the least (as it’s not a hip-hop record and are perhaps meant to be ironic anyway – like “never lived in $20m mansion – okay, sure). The vocal style is nowhere near soulful (or soulful enough to be anything like R&B anyway). The production style and auto tune (ab)use is the musical equivalent of CGI — not good –– this generation seems to think special effects suffice for and as music. Indeed there’s a marvel cinematic universe effect here that makes this hard to grok (much less to engage emotionally). One’s okay with the Philip K Dick reference (even in context of a sophomoric joke), not as much the b-list actor name-dropping (e.g., Patrick Swayze [which rhymes well with Jay Z, of course] and Keanu Reeves [would this be how Mr. Weeknd sees himself? and if so does it reveal an inferiority complex perhaps?]). The title track is best (i.e., most tolerable) though “Snowchild” has a dreamy sweetness). The vocal style is meant to a prepubescent boy perhaps (like Moses Sumney without the ceremony or seeming ritualism)—but soon annoys. And who is this for, exactly? Teenage boys ? Teenage girls? Club kids in their 20s? Pre-menopausal milfs? Gay men? Whichever, clearly one’s not in the target demo. Which, okay, fine, as it’s all too fakey to last other than commercially. This would add nothing to the list proper and one is simply not down with it and struggles to see how the effort to get so would be worth it.

Great show, what a performance. They were already so good relatively early on the path to greatness. Video is amazing, too, old rat-like Bruce such a far cry from what was to come. Rounding down because live albums don't fully count.

Bright, sunny and poppy, one has vastly increased one’s knowledge of Brazilian hip-hop and can now say one has a favorite Brazilian mc. This is just pure musical enjoyment, as easy and relaxing as a day on the beach. Last few songs are of a notably different tone and feel and significantly undercut the plus and positive vibes. Spoken word bits should be cut. Would be a fun add to list proper, just for the sake of globalization and diversity of vibe.

Have always liked the name, but find the music on the meh side, for its very straightforwardness and generic '90s ALT rock vibe (in guitars, drums, vocals, production). Frankly, one expected more irony; after all, the name suggests the TH would be more Pavement, than Bush, say, or Third Eye Blind (which might have named themselves the Terminally Earnest). Reputationally, in the US, they seem comparable to NRBQ, with a small devoted following that assume their lads are just too subtly good to be got by the masses. (Guess we know from which of those cohorts the recommender of this comes.) Not that this is bad, just sort of flat (Wikipedia emphasis on the cover art might've signaled the musical apathy to come). And no wonder everyone in Canada loves the Hip – with all the nationalized lyrical references. Can't say the list proper would massively benefit from including this record, but rounding up because one rates Canada and respects her cultural institutions.

The jazzier, jammier side of prog, innit, with sophisticated notes of classical and chamber pop. The playing is strong throughout, especially the drumming, bass and sax work. Delighted to have made the acquaintance of this pleasant soft and meandering and dreamy record – thanks to the recommender for sharing – and think it would enhance the list, even if it had to replace some other prog entries (looking at you, KC).

Decently direct, hooky and clean alt rock, but not one's thing, really. It's perfectly fine but decidedly non-transcendent. One's not looking for any (more) Screaming Females in one's life so would pass on adding this to list proper, but certainly get the appeal for others.

One likes the name of the record and what one takes to be a general positivity and competent+ playing, but it's a bit too earnest and straightforwardly alt/post-grunge (same ol' shearing guitar licks) for one's tastes. Can't argue that it's "one of the best Christian rock albums of all time;" that sounds about right but one's not qualified to judge, and anyway that's faint praise, isn't it?

Tuneful and easy on the ears If one spoke Spanish, one would almost certainly be inclined to sing along. The rockier songs seem less effective, but one senses some irony and perhaps even some outright piss-taking in the husky-voiced singer. One will check out the poetry, though.

Brash, assured and extremely strong for a debut. One likes the vocal attitude and tight playing and lyrics, which are just what you want from disillusioned and literary-minded youngsters, no, with ample passion, and manifesto-like proclamations (e.g., "Chequeless Reckless"). They seem like torch-carriers for a certain indie rock style – a quite polished version of punk. Plus it's easy to root for them because theyr'e Irish. "Roy's Tune" (for its emotional depth and melancholia) and "Dublin City Sky" are preferred cuts but really the whole thing works well as an integrated whole, even if some songs seem to never to fully resolve and maybe "Too Real" should sound more like the Eliot poem it quotes (though full marks for quoting Eliot in the first place). DCF have continued to mature nicely in the years since this release, which is encouraging. Belongs on list proper, maybe replace Fetch the Bolt Cutters.

Not bad and certainly better on headphones, but too synthetic to personally engage and when it comes to kicky French kids with synths, one prefers the rather more cerebral Stereolab to these lightweight and cartoonish characters. Too many songs feel like a lark (e.g., "Harder, Faster, etc" "Short Circuit"), and usually not in a good way (e.g, the fading TV show soundtrack opening to "Digital Love" works well, however). The vocals rarely feel convincing, and seem like an add-on or afterthought. The better cuts have a touch of contemplative soul or melancholy softness (e.g., "Veridis Quo"). It's entirely possible it's a function of one being too old to get the jokes or subtleties (other than "Nightvision" softly quoting 10cc, which along with "Something About Us," which evokes Bill Withers through the lens of Thundercat one thinks, are best songs here). Plus this goes on way too long -- as the title of the closing cut seems to acknowledge. Could be added to list proper if switched out with other DP discs because they're kind of all the same, right?

Interesting and pretty engaging, well produced and effectively played (plus additive cameos), but it does seem a bit much and too, um, theatrical for one's tastes. Her voice is annoying, for sure. One more admires than actually feels entertained by such records as this but certainly wishes AM well as she clearly had a vision. One would not add to list proper if one were in a position to do so.

Strong add to the list, though the earlier, rockier records might be the slightly preferred. Certainly they were more Beatlesque and energized traditional pscyhedelic (as well as some blues-rock) tropes, this is softer, more ethereal and leaning into bouncier and lighter pop vibes. On some cuts, that makes for a richer, dreamier and more emotional aspect (e.g., "Eventually") that the first two records lose with louder guitatrs. The disco perhaps make it more accessible to more listeners. But it can get dangerously synthy and A-ha-like (e.g., "I'm a Man") and maybe the studio perfectionism lends a touch of sterility. Still, excellent recommend for an interesting and important artist. Definitely would fit on list proper.

Fierce and tight. Not necessarily one’s thing though one feels that young people making such music confirms a certain rightness with the world. Super Aussie accent on the vocals. Opener – with its relentless “energy … heavenly” drive “Security” and “Knifey” seem the best cuts. One might slightly prefer the Beths in the femme-led punky Down Under bands (though Beths are notably poppier or more indie rock, and Kiwi anyway, one thinks). Still, pretty good. One’s neutral on whether this belongs on list proper though it would notably raise the energy level if it replaced some of the dirgier Nick Cave entries (just to keep it balanced Ozzily).

Raw and inchoate, yes, but also raw and powerful. The angular attacks allows room for both discordant thrashing and a little melodious meandering. One missed the band in real time back in the day, knew of them, just never fully engaged. But this has held up well and one might be inspired to explore more, including the later work that others seem to like. One would have to check timelines exactly to see how Sonic Youth Jr or Dinosaur Jr Jr this actually is, but it seems different enough. Thanks for recommnending – one would not at all mind seeing this added to list proper, right there along Pere Ubu, say.

Starting with a solo tells one everything one needs to know about where this is headed. The playing may be bad ass (or whatever would have been the right adjective in ‘74) but it seems mostly troglodytic and cliched today, with nearly every song sounding samey, in same tone and tenor, with too many about rock and roll (always a bad sign). And it’s this kind of record that gives anti-rockists fodder for their arguments, surely. Best songs are those that vary from the template -- "Lay Down Your Sorrow" and "Love Song to Me." Also, this is just not one’s thing. As there’s plenty of this already on list proper, one can’t in good faith recommend its inclusion. Cover might be best thing about the record.

High energy and high urgency. If not fully transcendent to one's ears, one can understand how others (probably younger people, with more ambition and bigger dreams and more recent/important seeming disappointments) might hear it so ... and triumphant, too. It's flag-waving music, passionate and heart-on-the-sleeve stuff, the kind that might inspire sincere determinations and earnest resolutions (perhaps born of anger or perceived slights) to change one's life for the better -- to never being treated like this again for or never doing that. "Do Not Let Your Spirit Wane" is particularly bracing – a song that one's taken solace from in the past. Songwriting wanders a bit into excessively confessional, emo-esque (and very much millennial) territory. Strong title and band name, too, if that matters, which one thinks it very much does. It's a bit too long and a bit too sprawly, asking listeners to sustain an emotional intensity beyond one's own limits. Can't say one'd recommend for list proper, other than 75-100 records that it's clearly (okay, objectively) better than. Also, whole lotta Aussie bands on this user list, huh?

One hopes this served as an effective mourning strategy (or primal scream therapy), because it doesn't offer much musically. One can't abide the vocals, other than the first half of "Benediction," say, which seems almost like a normal indie rock song, and "Skyscraper," which is easily the best cut (no screaming will do that) and very much a proper indie rock song. Chiming guitars on "New Halloween" are decent, as is the rumbling bass and rhythm of "Palm Dreams." "Softer Spoken" very much should have been. Otherwise this is forgettable, and woudln't suit the list proper (though one might prefer it to most of the Metallica on offer). Recognizing this is definitively not one's thing, one's nevertheless intrigued by the question of who thought this merited a Deluxe Edition.

One's fully onboard with this quality Krautrock – and very much enjoy it being on the contemplative side though it can seem borderline inert at times. One has no idea what a "Folschi Tong" or a "Rote Riki" or "Heise Lippen" (best cut) would be but mostly dig all of the above. Not sure this would add much to list proper but certainly seems on par musically (and musicologically on other albums of this ilk and era).

Shiny and splashy, bright and flashy. One likes that many young people are seem to be choosing newer rock or bands (see also Amyl + Sniffers, recently served up in the completed user lists), to encourage one and other oldsters that rock 'n' roll is still in good shape. One likes this record for that reason – these young things rocking true, with purer energy than one has now and an admirable sincerity. Beyond the despairing "total cancellation of the future" (great line), one can't discern anything specifically socialistic or anarchistic or vegan in the music; and it's not even too angry feeling or mopey for that matter – the Sorrows of Young Werther in day-glo (sorta), title cut suggesting classic youthful confusion and self-struggling. Not at all dystopian, it all seems rather more straightforward and much more fun and bouncy, eager to please, even less experimental or severe or offkilter or different by intention than one would've expected for a band famous for their political commitments. Plus, there's a Huey Lewis reference – incongruous, to put it mildly. Anyway, dig it, not only because one could be safely considered a fellow traveler in terms of the collective spirit and think it would work well on list proper, replacing NIN or Marilyn Manson or Offspring or Prodigy, because thoughtful and optimistic (which at least this records sounds like) dissension trumps shock value anytime. Feels like one might be patting earnest young Martha on the head ... which wouldn't be an inaccurate description of how one feels about this lot.

Let's get the obvious out of the way first: Shabooh Shabbah and The Swing are much better records overall, though this is pretty good, if showing a band running out of ideas and perhaps trying a bit too hard, straining to stay relevant. Consider how "New Sensations" evokes Lou Reed's identically titled record from a few years earlier. Or how the top cuts are also derivative – "Need You Tonight" of Prince's "Kiss" (damn near straight rip-off, though slightly darker-toned) and "Mediate" of REM's "End of the World As We Know It" (same amalgam/listy/compliation lyrical style/structure). "Devil Inside" is okay, the best among the other hits. The record reveals Hutchence's stregnth as a vocalist and songwriter (very relatable, mid-toned voice that he knew how to enhance with attitude) and the band's cool-cool vibe. Maybe there the best Aussie band of all time, probably one's favorite, though they always were sort of "hot girls" band (music for listening to with hot girls) and so a bit of a guilty pleasure, as one was never sure how seriously to take them, how visibly and enthusiastically to be a fan, actually. But this record isn't their best. Still, thanks recommender, for giving occasion for one to go back to those earlier records and the fond memories they engender. Those earlier records belong on the list proper for sure – let's take out a Nick Cave or – better yet – AC/DC record just to keep it geographically balanced. Rounding. up because of the early records and for reasons of sweet deja vu.

First and foremost, if the recommender meant to offer this as a direct rejoinder to it being excluded from list proper (and to protest John Zorn’s purported tribute), then full marks. One doesn’t get a ton of emotion out of it, which the elite critics seem to emphasize – with the all the austerity and angularity – but agree it’s more accessible than its reputation suggests. And not far from West Coast dryness, either. And if not emotional, then fully engaging, especially “Lonely Woman” and “Chronology.” And love how geeky-school-teacher-y and preacher-ly, even clerical, he looks on the cover. This would be a beyond-worthy – and actually tremendous – addition to the list proper, replacing Zorn’s entry would be perfect poetic justice and a huge improvement – the thing itself, as it were.

This is decent+ (and maybe decent++) and right up this indie rock traditionalist's alley – good enough for one to consider exploring more. It's maybe a little too earnest here and there (oh these millennials with their latent emo tendencies) and veers dangerously close to Radiohead tribute band territory at times, but warmer than than that on balanced, plus being pretty interesting on its own terms and well crafted besides. The back story seems borderline absurd, though Pitchfork review is entirely too harsh. Can't say one hears a ton of difference between the two versions of the album or has a strong preference either way – both are solid and enjoyable. Dumb band name, however, if that matters, which one thinks it very much does. Though one choose to listen to this over at least 75-100 records on list proper, it might not quite fully merit a place.

Right up one's alley, somewhat melancholy, but ultimately hopeful and occasionally beautiful (if not quite fully transcendent) indie rock. It's buoyant and hooky and tuneful and holds together from beginning to end. Doesn't ever get too Coldplay-y., which is a risk of course, particularly on the rather majestic crescendo of the closer. Dumb album name is balanced by cool band name, if one thinks such things matter (which one very much does). Would certainly add to list proper, if only to inject some Danish energy.

Just can't abide. Seems more metal or like thrash-alt than post-hardcore. The scary voicings are extremely hard to take seriously. Rounding up (from zero to one) because Canadian. Definitely would have it replace any of the bottom 10 on the list proper, but that's the type of company it would/should keep. Watch out indeed!

Clear evidence that mid-career reinventions are possible, though exceedingly rare. This is delightful, even if one doesn’t buy into the full story and narrative (another artist exploring stories of prog-rock-esque complexity), which really should be left to the novelists anyway. But the dry sense of humor and assured thoughtful (and occasionally glimmery) playing. That they continued on with their next album, too, confirms that they were up for this shift. One once conceived of them as the British Green Day, but this record (and the next) prove that that’s a far too narrow a comp. One knows it's divisive among AM fans, but it brought in at least one new fan, who'd be happy to see it replace the existing AM album (which is strong) on the list proper (but this one is a bolder statement with a higher degree of difficulty). Good choice recommender.

Gossamer light but very listenable. One digs the mellow, woozy vibes right out of the gate. One finds oneself increasingly drawn to chill pop (though maybe one means pop chill). Will keep listening to this lot, for sure.

This would be more with less jokiness. This and Wu Tang-Clan’s Kung Fu narratives at times seem like prog rock alternative world building – and just tediously Manichean. Otherwise, this is quite good, with intriguingly offbeat and surprisingly different beds and beats (more hip-hop records should sample accordions). That there is an instrumental version of this record speaks volumes about where the strength lies here, though the controlled, talky flows often work well (and also sound original). “Raid” and “Curls” are among the standouts, but the whole mosaic works well. One’s down with many of the samples, including Bill Evans, Sun Ra and Joe Tex. As a “touchstone of lofi hip-hop” not sure how editors miss this, which could reasonably supplant a half-dozen of the hip-hop albums on list proper.

Epic but mostly in the sense of being overly long, overly self-serious and tedious in the extreme. Sure, it's a juggernaut but of gudge-gudge-gudging guitars and bouncy, trampoline-like drums and vocals that sound like a VO audition for a bad horror movie. One can neither abide nor in good faith recommend for list proper (though switching out with any Metallica record would be like for like, in one’s view, a fair swap indeed).

When a band has a song with a devastatingly memorable hook (e.g., "Cannonball") and one that is much better than the rest of the songs on the record, then they should – indeed, must – make it Side 1, Track 1. That's one major beef with this record, which is solid+ and strong overall, with a handful of gems one's long since forgotten ("Drivin' on 9", "Saints"). , "Divine Hammer" is also a fond memory and holds up well. Bonus points from being from Dayton, Ohio, a town one knows all too well (and not always fortunately).

Gorgeous, so glad / grateful to be introduced to this, will get incorporated into heavy rotation in mornings. Could / should replace Aphex Twin and other sterile ambient offerings in list proper.

One vaguely remembers this lot from the real-time late-'80s and remember thinking they were trying too hard then and, despite "Tell That Girl to Shut Up" being not too far off the mark, weren't worth one's attention. It didn't make the cut at the college radio station where one worked, though one remembers some grumbling about it (from the A&R guy, probably, who figured he could dictate what was to be played). Poor man's Missing Persons, basically. Today, one's reaction is the same, only more so. None of it's aged well at all – the guitars they thought were edgy read cheesy; the production they thought was top line sounds tinny (and cheesy); the lyrics they thought sassy and provocative are trite (also cheesy). WJ's spiky-aggressive frontwoman persona needs a bit more Aimee Mann, and less Madonna. Actually a lot more. Slowing it down (as on "Sister Moon," eg) only exacerbates matters (adding extra cheese where there's too much altogether (to be fair "Wild Star" and "Hanging Out with Halo Jones" are halfway decent, and suggest where they might have broke through by dropping the proto-hair metal guitars, mainly). Similarly, "Andy Warhol's Dead" should have been a hit – a song with such a title and concept, really should have been made better, but it comes too late, honestly. It seems clear now that they were trying to split the difference between MTVish new wave and more direct punk (with the clubby "Sex Kick" thrown in). The recommender here must be a child of the '80s, and so assuming an allyship on that point, one feels compelled to suggest maybe choose records that don't confirm the worst of that decade, of which we have so many fond memories and during which our psysches, spirits and musical personalities were formed. (Lone Justice, maybe, or Alisson Moyet, or 10,000 Maniacs, or Til Tuesday, or Big Country or another Replacements record). One aims to be fair-minded about such things, it seems like they were critical punching bags for a reason. As such, one can't in good faith recommend this to list proper, though of course it would be a fine replacement to all the heavy metal discs.

Fun and definitely above average cool. What an albm title, though. "Pata de Perro" is fave cut. Glad to know it. Gracias to recommender.

Generally likable, competently executed and right up one's alley in terms of genre, though one's not much moved in the end. Maybe gets a little emotionally overwrought. As with a lot of "concept" albums, one's not much compelled to figure it out. Maybe could switch out for those Manic Street Preachers or Last Shadow Puppets on list proper but that would be largely like for like.

Stay classy, San Diego. Seemingly overlooked in the ongoing debate about just how far outside punk this is (obviously way outside according to major gatekeepers’ and purists) is whether or not making punk more accessible and safe for mall rats might be the punkest thing of all. But more to the actual point, this is silly and puerile, sophomoric and jejuene and seems maybe to have got more so over time. Its appeal to a certain cohort also seems clearer in retrospect, thanks to the pristine production and catchy hooks. Blink-182 certainly did not go broke (and appear to have had fun in) underestimating the taste of the American public (or at least suburban teenagers), though it's not clear they had any better taste; they also made themselves entirely deserving targets of elitist critical disdain. Maybe that’s a fair trade. Certainly doesn't belong on list proper, save as a replacement as Britney Spears, whose at least as punk as this lot, at least in one's (not entirely informed) view.

Good job recommender for choosing a sacred genre's Rosetta Stone. it seems so obvious, one wonders how the editors could have missed it. What a delight to hear after so long. "Potato Head Blues" and "Struttin with Some Barbecue" and "West End Blues" are sounds of pure joy – musical miracles hiding in plain sight – among the most important songs ever recorded. It's easy to dismiss Satchmo (for being more of an entertainer, etc.) but would every genius wear such a bright smile. Easy 5 – could/should replace virtually any record on the list proper (very much including Sinatra).

Dramatic and interesting, occasionally dreamy and lovely, but with the usual prog downfalls (overwrought, overlong). Still one prefers prog that errs on the side of beauty, not bomast. And one might like it better if one knew what was being sung. But glad to be introduced to it, overall. Would suit list proper, one thinks, and replacing ELP (speaking of bombast) would be a distinct improvement in the prog subcategory.

Impressively manic and relentlessly sharp-edge. One hears as many prog flourishes as metal effects, but ultimately doesn't care about where they slot most comfortably genre-wise (if only because one won't be listening to them much, if ever). Infinite looping sounds like a terrible idea and the band name is unforgivably stupid (begging for a full point off). Relative to list proper, this would be an upgrade to most of the metal acts.

Weird and whimsical, warm and wonderful. As polarizing as BT have become (and AL I particular), one’s just about fully down, given their originality, humane spirit and willingness to let a freak flag fly. And like a lot of first-rate bands, their getting better also saw them getting stranger and more distinct – seems more than a coincidence.

Same reaction one had after seeing them at a festival a few years ago: WTF’s up with the name? And wait these cats (er, bunnies) are good. The edgy and uber-earnest, emo-inflected intensity and drive are largely effective, a decent extension and freshening of indie rock tropes and templates (so, right in the sweet spot of one’s musical ancestry). The slight edge of desperation in the vocals (the straining, the wavering, the reaching) reads as sincere and vulnerable and authentic – indeed, it’s what authenticity and vulnerability and sincerity have always sounded like to young people. The polish and emotional weight and overall likability make this a band to learn a bit more about (back catalog) and keep an eye out for. They definitely seem to have the right fans, too, which is a plus.

Elegant and artful (some nice oboe playing and a few moments of gorgeous singing) but a bit indulgent to one's ears (big pop star wanting to push boundaries, maybe) and not exactly exuding soulfulness. Still, feels generally positive to be introduced to this artist. Don't think she should nudge Joanna Newsom, say, and certainly not Janelle Monae, off the list proper, though perhaps replacing Dagmar Krause or Ute Lemper would be net positive.

One struggles to get too excited about this guy, who's such a songwriters' songwriter as to seem invisible to amateur appreciators. One hears only one transcendent line (the one about "getting killed or caught") , but many others seems willfully odd or just short or sideways of scanning properly. There's no doubting the old-school authenticity: he seems so DIY and rough around the edges, as well as given to somewhat silly jokes and puns, as to be John Prine-lite or a poor man's version of same. Great album cover. Guy Clark could definitely fill one of the spots wasted on say, Scott Walker, or even Bowie or Nick Cave, and the list would be slightly improved – though only very slightly. One's rounding up on one's own personal scorecard is meant as a gesture of recognition of the likelihood that he deserved better (but of course than can be said of so many artists).

Merci, no.

One digs pretty close to fully. This coheres nicely and though maybe not her best album start to finish, it's among her most boldest and most adventurous, which is no faint praise. Would fit nicely on thie list but one's not Bjorkophile enough to know which it might be most profitably traded for. The recommender's explanation for choice is solid and useful - thanks. One continues to feel there's room to go deeper with Bjork.

Really enjoyed hearing this – hadn't heard in this millennium, probably. A fun listen, and called to mind Camper Van Beethoven, Mojo Nixon, the Dead Milkmen, Weezer, Cracker, etc. – other indie/alt bands notable for having a wry/day sense of humor and satirical bent (without seeming too impressed with their own cleverness, like, say, Blur or Beck or Pavement or –to go later, Vampire Weekend). Musically, if not groundbreakingly innovative, this is well produced and well judged in its construction, especially in the relationship of the clean, direct playing and talky, stiltingly-timed vocals and smart/savvy lyrics – artistic grasp and reach pretty well balanced. Best use of trumpet since the Connells. This got them out of the novelty act territory (which was where they seemed to be heading with "Rock n Roll Lifestyle")) though mabye some of the cover choices suggested their bar band roots. One likes this because they neither try too hard nor try too hard to avoid seeming to be trying too hard. Neither taking themselves too seriously nor not seriously enough. Best songs are best songs – "The Distance" and "I Will Survive" (the balky vocals on the latter are cringelicious). This is definitely better than Blur so could conceivably switch this out for one of their too many records on list proper (but then Blur fanboys might create such a fuss that the slacker-ironists Cake might just shrug their shoulders and say "whatevs.") One quibble: Fashion Nugget is nowhere near as good a title as Motorcade of Generosity or Showroom of Compassion. Good choice, recommender!

Not getting this lot at all. The dual vocals of the one dude doing tired and soaring alt vocals and the screaming Freddy Krueger metal effect does not remotely work. Do like the opening few moments of opener with gloriously chming guitars. Cannot abide.

Intermittently dreamy and interesting. But also fragmented and staticky. Eliminating the vocals would've been addition by subtraction. If this is a major step forward, then easy to skip Stretch 1, obvs. Surely the listening experience would be improved by taking the right drugs. Otherwise, very much not one's thing, for there's little craft (that one can hear) and even less coherence.

Fun and likable, with emo and psych folk resonances, the lit-pop side of DIY Western cottagecore. A + for originality and doing it his way. But a little one-note, obviously. Definitely works on a long road trip sort of drive. Not exactly Nebraska and the voice can get a touch annoying but still awfully clever. Could easily fit on list proper, replacing Tim Buckley say or Scott Walker.

Not wholly convinced of the Buddhist tie-in here but will say that this is precisely one's type of chill – more contemplative than clubby, mid-tempo and not manic. Opening cuts are best, as it all gets fairly vague late on, though it's a mostly positive and pleasant vagueness. Would definitely take this over Fatboy Slim on the list proper.

Who knew they played avant-/psych-folk in Roman Britain? Certainly different, more unsettlingly unique than weirdly wonderful, one would say. The clangor and cacophony achieves a kind of majesty at times (e.g., on "Ogre"). And there's a discordant sweetness (e.g., "Beggar") that bespeaks authenticity and heartfelt (if woozy and sloppy) conviction. This cat competes with Robert Forster for the all-time most tortuously tuneless singer on this list. The choral bits make this sound like a countrified Polyphonic Spree – or a kids' cult, maybe. This is certainly not Fairport Convention for all its mystical leanings and medieval effects. And like a lot of prog-era, world-building concept records, one can only follow along to a certain point. Asks a lot of the listener, so one is hesitant to round up, despite the considerable originality and unconventionality. On the other hand, one will likely give the other records a listen. Hard to see this cracking the list proper though trading out for one of the Forster solo records or John Martyn might be fair (if indicative of recency bias).

Big fan of this record, which is the softer side of shoegaze, lush, languorous and woozy. One gets quite lost – and sweetly so – in the washes and layers and fades, the suggestive swirlings and entrancing eddies. Great addition and definitely belongs on the list proper. It's not faint praise to say this isn't quite as good as Loveless or Disintegration – it's quite close in fact. Thanks for recommending, recommender, if only for the pleasure of another listen (or several in a row).

About as substantive as a TikTok or a Snap – that is to say, not at all – and likely to have as big an impact. One finds hyperpop utterly disposable, and this is (mostly no exception) save for some intermittent tunefulness. The ballads (e.g., "something stupid") are okay but there are too few of them and they are to short. (#choices!). One sees the whole thing as mostly silly and totally forgettable and not even worth developing an opinion about but gets the appeal (especially since one has a teenage daughter, whom one hopes will grow up nothing like this artist). Also tempted to round down to 1 given that "brat" didn't much help Kamala and to protest Cxcx's already having received far more accolades (and money) than is deserved.

So one's supposed to consider the Internet a musical instrument now? No thanks. Zero stars. Gotta think recommender is trolling for that's what the terminally online do, right?

Gorgeous, searing and pure. Also lovely in a heartbreaking sort of way. A major record, by a major artist, his best, in one's view, beceause one prefers simpler, stripped-down Sufjan.

For all the bounciness and kinetic energy, this is no great shakes in the end. Too similar to generic early-aughts alt to offer much of an upgrade to list proper. while the lyrics are a mystery, the vocal style is completely familiar and was already well and truly cliched and utterly tired in 2005.

Charmingly ragged and low-fi – more tuneful, than garage-y, with some vaguely Pixies/Breeders flourishes, with just enough country twang to boost the soulfulness and authenticity, plus some modestly soaring and anthemic crescendos (“Yellow Cotton Dress”). “Crooked,” “Conversation Lags” and “Soak It Up” are among best cuts. Vocals are a little shaky (2x) but hold together just well enough to move it out full DIY space. Still it’s too warm and sincere-seeming not to like. Good choice, rcecommender, to bring forward a very much under-the-radar kinda band. If it’s good enough for Christgau …

On the plus side, there’s much that’s jazz inflected. On the downside, the singing is consistently terrible and lyrics silly and sillier. One suspects the whole hive-mind playing thing may only be perceptible in live settings. It’s fine, but not one’s thing. The whispering scat singing and little audience particpation clapping seems a bit precious and (again) silly. A good bit of the noodling is most pleasant (e.g., "You Enjoy Myself") but it doesn't add up to more than that (i.e., pleasant noodling). One finds the Dead much more interesting and expansive; Phish too often play into cul-de-sacs. And like a lot of jam bands, they mighta learned when to quit (and thus saved a lot of people a lot of time [presuming that those people mighta found more productive and edifying uses for their time, which, granted, is no sure bet]); one of many instances: “Tweezer” gets to a good place, then goes sideways, then seems to insist on seeing just how bad (and tedious) it be. Give ‘em points for community buildnig (and letting their fans nominate tracks for inclusion on the record) and a certain playfulness and sense of humor (perhaps borne of insecurity about their actual chops), but detract for being pointlessly proggy, if proggy at all, in addition to the time-wasting and for having annoyingly dedicated fans. Net-net one doesn't feel in any way compelled to make a lifestyle change and start following this lot around. Would only belong on the list proper if it could replace a Widespread Panic record or one by Billy Strings.

More two-track vocals – one by a scary monster or perhaps Shrek – and the usual bouncy drums, and technically angular guitars, this definitely checks the modern metal (though maybe one means "metalcore" but really doesn't hear much punk) Full points for cheekiness re naming that one song a "serenade." Just cannot abide (and one's feeling seriously outnumbered by all the metal fans in this elite category of completers).

As with most (nearly all) metal albums, one simply cannot abide, though one vaguely remembers, having heard about SOAD, thinking one would like them. One even thought the name was pretty cool, too. (How many dumb things one thought when one was young.) Today this sounds like horrifyingly awful. The opener alone has four distinctly terrible vocal styels. Pitchfork says their rage is largely down to the Armenian masscare of 1915 –- seems as good a reason as any. Their politics are fine, but their inclusion is as much bug as feature. Sorry, recommender, but one can't reasonably suggest this for the list proper given one's non-fandom re metal and strong conviction that there's just way too much metal on the list already.

Perfectly fine. Just not that interesting. Who knew Dutch funk was a thing?

The ballads and folkier cuts hold up better than the rockers but what a delight to hear again a recrod that meant so much in '94. A band that seems to have retained its integrity and remains easy to enjoy/like and admire in the post-rockist era. Vedder's always been a proper rock frontman/demi-god.

One is predisposed to like a record that shares a name with one’s primary school – which was named (rather discouragingly it seemed at the time) after the patron saint of hopeless cases (which this record very much is not). There will always be a market for this sort of traditional and credibly edgy (and upbeat and quite crisply executed) indie rock, even it’s not setting any new standards for originality. To one’s ears, it’s much more like the Las or the Kooks (plus Walkmen and Franz F) than the Smiths or Oasis (it’s historically informed rather than being itself historic). Pretty fun listen – the tightly bouncy “No You Don’t, No You Didn’t” being perhaps the funnest – , though, sure, so thanks recommender. Let’s have it replace Manic Street Preachers on the list proper, eh? (This is so right in one’s sweet spot that one can’t quite fathom how one missed it in ‘08.)

Love the Hopper-esque (or Hopper-excerpted) cover. Love the warmth and soft perceptibility of the music, but it’s so down the middle as to be a veritable snooze. Piano playing is fine throughout, lovely and grand, alternately. Vocals are sub-par. Reminds one of the early Sting records (which are on balance a notch better), “Fields of Gold” = “Pastures of Plenty,” basically. “Talk of the Town” sounds like the Charlie Rose soundtrack; much else like brief excerpts of Dead shows. Can’t speak to where this fits with Hornsby’s evolution as an artist, but it would seem less a major new territorial expansion than an incremental maturation.

Starts with quite the splash and bash, huh? Now know where Parquett Courts and Fontaines DC ideated their vibes. One digs the spikiness and spiciness. Seems like the 2020s have delivered a considerable freshening of indie rock. Def sounds like a Mercury Prize winner, too.

Weirdly and wonderfully wacky. One can't recall hearing harpsichords, accordions, klezmers and sitars on a metal record before (a little disappointed there's no glockenspiel). That and the zany and vaguely hyperpop-ish digital effects more than break up the dreaded jug-jug-jug drudgery.

Ravishing and ravishinger – spare and serious, elegant, expansive and elevating. Great choice – easily one of the better records in any genre released in the last few years Certainly belongs on the list proper. Could replace almost anything, as it's so far outside the genre conventions. Pharaoh Sanders is a treasure.

Perfectly competent bluesy psych rock of a certain age, perhaps slightly above replacement level for 1970. Agree with the observations that his lot woulda been better served by differentiating themselves, a bit proggier, say, or folkier. That said, there are several strong guitar solos and strong drumming, too, but mostly indifferent, undistinguished vocals (one also “thanks christ for the bum.”) The “concept” (maybe it’s really just subject matter) would hit a little harder if the music actually sounded like 1914 (think Pink Floyd’s aural choices on The Final Cut). Doesn’t much move the needle musically or narratively (the muddy sound does not help), even factoring in the idea that this is not really one’s thing. The band seems at least somewhat justifiably forgotten. Can’t say it should definitely go to list proper but if it were traded Iron Butterfly, say, or Moby Grape, how many folks would even notice?

Intriguingly obnoxious, but primarily the latter. Multi-dimensionally awful, completely on par with the name. Zero stars.

Intensely energetic and undeniably edgy, this is a strong and proper rock record. No doubt one would have been an actual and committed fan had one encountered during one's younger, angrier and rockier years. The more expansive cuts (e.g., "Waiting for a Sign," "Marshall Dear") are strongest. But no extra points for letting us know what Siouxsie would sound like all these years later – let's be honest, this gets close to tribute band proximity at times, or like one of those unfinished novels by an old master that gets finished by a young upstart (or relative). Still, this is strong and one's glad to be alerted to its quality -– so thanks, recommender. One'd easily take this over the Vines, the Libertines, Manic Street Preachers, or the Last Shadow Puppets on the list proper.

Great suggestion – an absolute gem that one's never heard and will now be listening to on regular-to-heavy rotation. Lovely, piercing, thoughtful. Definitely belongs on list proper. Could replace lots of the bands/albums it influenced.

One digs. Good to be reminded the scale/scope of the rock and roll universe. There's a tunefulness and nice variety of sounds and instrumentation, and the quieter songs are particularly strong. One's favorite Argentine musician since Miguel Cantilo.

One had plans to pick this (one might have done actually), one of several worthy contenders (And Then Nothing... and Summer Sun would be one's top choices) from a criminally underrated band, college radio hall of famers, which continues to do interesting and inventive things today. One loves the mood-vibe-tone here, a beautifully balanced blend of their growing ambient tendencies and their art rock roots. Personally speaking it was a favorite record of early-aughts in NYC (walking city, riding trains), listened to this (not quite) endlessly for its tender cacophonies and arty/resonant/purposeful noisiness. Listening now, one's thrown off by memories of a "best of YLT" mix tape where "One PM Again" flowed into "Cherry Chapstick" (which is great to hear anytime but alas not here, not now!). Nobody did quiet-is-the-new-loud and quiet-loud-quiet (both within and across songs) better than this lot. "Autumn Sweater " is an all-timer, a long-lost-friend sort of song. Opener sets the tone, welcoming and inviting listeners along and "Spec Bebop" is one of their best instrumentals, edgily probing and nudging us into engagement and then deepening the engagement with subtle mode shifts. A case can be made that they deserve every bit as much acclaim as Wilco and The National. Great choice, recommender, and definitely this belongs on list proper.

One likes the magisterial tempos and expansiveness and the emphasis on post-rock vibes (over the metal elements that might have sunk this). Solid. Could easily replace any or most of the metal lists on the list proper.

One can see why (the urgency-drama, mainly, plus clear vocals, strong/direct playing and fantasy-world effect of the tradfolk interpretations) people (especially Swedes) would get into this; and certainly it got better as it went along. But one coudln't help feeling that one was listening to the soundtrack of some Game of Thrones spin-off or a streaming series of such ilk. Still, good choice, recommender, so thanks. Could potentially replace Devendra Barnhardt, say, or Joanna Newsom on the list proper. Certainly could replace Abba if list wants to keep a limited spot of Swedes.

Not one's thing (too loud, too fast), but this is far from the worst punk record on the list (thanks to harmonies and melodies and scrutable lyrics). In all those attributes, it's vaguely Buzzcockian. "Kerosene" and "American Jesus" are cool. "Man On a Mission" also solid, sounding like legit indie rock/country rock division. Thanks for recommender for clarifying that Bad Religion > Bad Brains. Could replace basically any punk record on the list proper and all of the metal (starting with Limp Bizkit and Linkin Park and even going so far as the Stooges).

First and foremost, great job recommender for uncovering one of the few early-80s, new wave bands one didn’t know (or doesn’t quite remember). Within just a few songs, it becomes clear that The Sound had to be a well-touted group ticketed for stardom (like Big Country, Icicle Works) that never quite came – and research confirms that take, even so far as claims that this is the best band that never made it. The algos could be clearer that if you like U2 and Echo and the Bunnymen, you'll like The Sound (sorta dumb name). Musically, this is early U2 in sound and spirit (which is generally a good thing, even considering their being somewhat derivative): edgy-ominous vibe, shearing guitars, restrained, suggestively foreboding vocals. It gets sorta near Cure and Joy Division, but not so dark. The synths that add a neon-lit, vaguely noirish mood (one sees shadowy urban landscapes, shimmering rain-slicked streets, trench coats with upturned collars, lots of trench coats). Editors, Interpol and The National are their inheritors. Definitely could go on list proper – just from 1981, it could replace Heaven 17, Soft Cell and the Human League (as well as any of the metal records, of course).

Disculpas pero esto no es nada especial.

Just astonishing – shimmering and spectral, hushed, haunting and heartfelt. Maybe the ultimate quiet-is-the-new-loud effort. One remembered hearing for the first time and thinking one'd never heard anything like it before. The first few cuts set the somehow eerie but triumphant tone and there's ample variation, though thematic (and vibesy coherence across cuts). One roots for the vocalist because one hears both the suffering and the courage to continue. He's gone on to bigger/better things, of course, but he's never topped this. Great call, recommender – it's utterly ridiculous that this isn't included on list proper (one assumed it was) – could/should replace any of the folk albums from the last 30 years (plus all the metal, punk and EDM). Creation myth sounds right, but its veracity doesn't matter to the excellence and depth – yes, genius! – that this album absolutely drips.

Chic and sophisticated and sweetly voiced for sure, but sounding a bit shallow and hard to suss for Anglophones (obvs). Also, the frequent loveliness repeatedly approximates cheesiness (fromagite? guimauvite?) in a particularly Euro sort of way (see outdated synths and keys, hollow-y production effects, and breathless vocals) It's admirable that it tries to cover so much ground (clubby dance, haunting balladry) but one senses a distinct overreaching. Hard not to think of Celine Dion here; given a choice, one wold take MF as chanteuse over CD. This could replace Ute Lemper on list proper, potentially.

This is a troll, right? Maybe not as terrible as the later records where they felt more emboldened to be snotty little pricks (and proud to be). One sort of gets the appeal, the clean power sound and the spiky, sugar-rush energy. "Miss You" clarifies why some young women mighta liked them and "Fallen Interlude" suggests that they mighta been capable to grow in a cool-chill-vibesy direction. But as with many other things that 14-year-olds dig, one's appreciation goes only so far (which is to say not very). Certainly could replace Prodigy on the list proper, but not much else. And rounding down for their later sins against cultural rectitude and general good taste.

There's too much emo intensity, too much alt-rock anger, and too many pop-punk tropes for one's tastes. Just sounds like skating rink music for the post-skating-rink era. Not bad – and certainly one gets the appeal – but one hears nothing much one can get excited about, personally. "Playing God" and "Turn It Off" are most tolerable (least intolerable?) tracks. "The Only Exception" and the last few songs show they shoulda stuck to softness and maybe the earnest side of emo. More jejune than sophomoric, one would put this on the list proper but only to replace the likes of Lorde or Fiona Apple and maybe even Green Day (and of course any metal record).

Désolé mais ce n'est pas pour moi.

A perfectly fine emo-pop-punk record, sweet and likable, crisply played and produced. Perhaps it's generational dissonance but one can't quite share the urgency of these emotions, even as one is convinced of their authenticity to the band and its fans. Given the excess of earnestness, they mighta been better served by sticking to the pop side of the equation and excised any punk pretensions, as they quieter / sweeter / tenderer cuts (the dreamy opener, "Denver Mint," "A Sunday," "12.23.95," "Ten," "Just Watch the Fireworks," "For Me This is Heaven") are noticeably superior. In general, they make good use of strings, resisting the temptation to overdo the sentimentality with them. The punk sounds like teeny bopper or bubble gum punk (not that emo kids would necessarily know these technical critical terms) and puts one in mind of the Bay City Rollers, roughly. "Goodbye Sky Harbor" illustrates the tensions: the bouncy, metallic bassline of the opening is far less interesting than the chimingly gentle, nearly hypnotic (if repetitive) expansiveness of the last several minutes, which sounds like vintage arty indie rock of the fin de siecle era (think El Ten Eleven), which vibe is nearly ruined by the feckless and uncharming rage of the opening of the next cut, "Christmas Card." As with "Sky Harbor," the record is far too long (possibly just the expanded edition Spotfiy served up), testing one's patience (as so many ambitious '90s records did). Stil, one will round up as one remembers being young and intense and confessional and certainly didn't make a record as likable as this one with all those emotions and hormones and vibes. One'd be happy to see this on the list proper instead of (just looking at other 1999 entries) Britney Spears, Incubus and Slipknot.

If one wanted to read Thomas Hardy or Chaucer or watch The Princess Bride (for Chrissakes), one would read Hardy or Chaucer or watch .... CM has major talent of course but this just asks too much of one's patience (as does his other work) and collapses under its own weibght fairly early on. Re the plot ... who cares? The rocking-out songs are nonconvincing and his voice is uber-annoying. It's all just too much. One doesn't want this on the list proper – one thinks the Bee Gees' Trafalgar better int terms of seafaring musical voyages – though one of their other records might be worth consideration given their influence and presence for a time. Rounding down while still being fully aware of one's "love-to-hate" bias against this lot.

More than a little glammy and proggy, with as many Beatlesesque as Hendrixian moments. No doubt the playing is exciting and dynamic and virtuosic and ample fireworks in the soloing but also overdone, with more notes than necessary jammed into every niche, bridge and chorus (not quite sheets of sounds, now is it?). Textures just varied enough to keep it interesting, though the consistency gets borderline samey at times. Perhaps adding a professional vocalist would be good. Will he amount to anything more than say Joe Satriani or Steve Vai or reach a Jeff Beck-like plateau. And let’s not lose the lede, which is basically “we’ve got a fuzzbox and we’re going to use it," or ebullience with distortion and feedback. Note to potential partners: naming records "Emotional Mugger" and "Manipulator" might be an ominous signal. Can't say this belongs on list proper, too one-note in the guitar hero mode.

As with one's original experience with this lot (and trip-hop in general) in the late '90s, one admires and wants to like this record more than one actually enjoys it. Just too clinical / cerebral and dry and pure genre exercise, with now flow or warmth or vibes or even melody. Could theoretically merit inclusion on the list proper, but only in trade for one of the two already there (two P'head albums being almost assuredly too many).

Wurlizter's fun, sure, and one's got no problem with va-jay-jay jokes or a certain musical jauntiness. Still the overall vibe is annoying – this is not a guy one wants to get stuck next to on a flight or dinner party. The quirk just ain't that cute. One senses a failed dinner theater star trying entirely too hard to stay in character or just be different here. He woulda been awesome on the Carole Burnett show or at a State Fair variety show. "Crackhouse Blues" is meant to be what, slapstick or satire? Poor man's Magnetic Fields, maybe? More Soupy Sales and Paul Lynde than Jonathan Richman or Rufus Wainwright? Half of the moldy peaches checks out, for sure. Regarding the question of whether this belongs on the list proper, one thinks no, 'fraid not.

Though it's slightly more substantial and groovy than, say, Britney Spears or Sabrina Carpenter, it's still far too hyper and synthetic and derivative/unoriginal and silly-celeb-oriented and exhibitionistic for one to take even remotely seriously. The title speaks volumes about its intent. Musically, this has as much in common with Debbie Gibson or Toni Basil as with Madonna or Janet Jackson. Only a poptimist would hear this as a must-listen. Sure, replace Britney Spears on the list proper. Rounding down (sorry recommender) because the whole schtick is tiresome.

One’s always struggled with the record – never quite got the appeal (or reputation) – despite repeated efforts to sort and solve it. Still, no dice in getting anywhere near appreciation. Perhaps part of the problem is the legend; it’s incumbent on fans only to love the records they love, not the ones which they are supposed (much less browbeaten) to love; that latter category should actually inspire a touch more skepticism (certainly that’s one’s initial reaction to the overhyped or culty classics). One’s fine with oblique-surreal -nonsensical-whatever lyrics. NP re low-fi vibes, oddball instrumentation and egregious distortion. Re the Anne Frank enigma, one doesn’t much care – it doesn’t constitute anything like a meaningful mystery. The more relevant questions: why did they never do anything else important and why did the editors not include in the list proper? There are moments of musical note and interest – the horns on “The Fool” and “Ghost” and bagpipes on “Untitled” and the powerful harmonizing toward the close of the record. Sure, the feeling’s intense, but that can’t make up for massively annoying vocals (off-key, overstrained) and the many rudimentary passages. That influenced Bright Eyes and The Decemberists is a distinct con, not a pro. And just because Mangum was troubled and disappeared doesn’t make him JD Salinger or Nick Drake or Syd Barrett. Judged wholly, the music doesn’t merit the myth – no, not even close. It should probably be on the list proper because of its reputation and impact. So, good job recommender for putting it out there so the debate can continue, which debate might be the best thing about the record, so could be worth digging into the 33 ⅓ book.

Undeniably high-energy and kinetic but too insistent in the ALT style (e.g., the strings to dial up the intensity in the first cut and the repeated staccato phrases which seem like a crutch [as well as being a major annoyance for this listener at least]). Not sure this stands out among the early-aughtie indie explosion (so-called), which doesn't say a ton for their originality. Lotta Foo Fighters energy (e.g., "Semi-Mental"). The bass is too bouncy too often. "A Whole Child Ago" woulda been sensational as a cover of Barry Manilow's "Looks Like We Made It" (file under lost opportunity). Rounding up because of the wisdom of this sentiment "Living Is a Problem Because Everything Dies," but then rounding down for a very iffy choice of a band name.

One quite likes the fuzzy/blurry softness that wrappers the hooky bounces, the sweet swirling when dreamy pop drifts across indie rock. "Face Behind the Cigarette," "Jerry," "Hangover Square," and "Waiting" are among the plus-plus songs. Wonder how Tame Impala feels, though – influencer or influencee (one would have to check the timelines). Strong choice – thanks, recommender. As this is right up one's alley, one wishes there were a lot more like this on list proper.

Great choice, recommender. One likes the opener most, with its CeeLo-esque lyrics, but the Amazing Grace cover is very good, too. Vaguely Violent Femmesesque at times, acousticizing punk as it were, more than vaguely pointing the way forward to emo. Endorsing this requires one to like (or overlook) iffy Plath-lite, confessional poetry, basically, though strong and gritty playing (e.g., "Napoleon") adds value and toughness and credibility. This is way better than Alanis, no doubt, and Fiona, too, so replace those with this (and Cat Power) on the list proper.

Perfectly fine and chill and it's all good (which was more or less one's real-time resopnse to this back in the day), just not very engaging or edgy or interesting in the end. Maybe one's just a square, but is at least a little embarrassed to admit one might like Jack Johnson a bit better.

Dark, arty 80s-ness cleverly updated for mid-90s, but somewhat uneven in execution, as occurred so often in that loose, vaguely experimental and fast-evolving era. First few cuts are grippingly ominous but it gently morphs into clubby-ravey noise. (Sure it's fun to hear the different singers in these contexts – Shaun Ryder, say, but this isn't a very good Happy Mondays song, which it seems to be trying to be.) "No More Lonely Night's" is sharp, intricate, jazzy. The insistently bouncy "Indie Hair" is catchy and likable, while "Only the Lonely" broods credibly, dark-hued pop well suited to the age of neon-and-wet-streets videos produced on sound stages with wardrobes consisting largely of fedoras, trench coats and upturned collars. Mix of vocalists is good – Debbie Harry doesn't much sound like herself. Andy Partridge sounds very good. What a dumb title for a record, let's be honest, and maybe the overall concept was even dumber, so flawed and misguided as evidenced by the lawsuit-inspiring antagonism toward Byrne (or maybe it was intransigence). Rounding up (slightly) mainly in appreciation of this recommender's awakening to an unknown chapter in one's native late '80s-early '90s era.

One doesn't love this record, though Sammy Hagar probably does.

Quick listen suggests that Joe Jackson might have grounds to file a copyright violation lawsuit for several of these songs, including title track. That's another way of saying this is strong, crisp, earnest and just a touch spiky new wave, pure late-70s to early-80s vintage. It's well balanced, neither overdoing the synths nor the rockier guitar elements, with nice grace notes, like the sax solo on "Tired of Me." Vocalist is compellling and knows what he's doing. There's a likable melancholy (e.g., on "Step by Step") that speaks to the best of this era and genre. One digs pretty thoroughly, meaning this lot have easily entered one's personal pantheon of top-10 Aussie acts of all time. Thus, one's grateful to recommender for making the intro. List proper would be very much improved by this replacing (just looking at 1979) Germs and Gary Numan. It's safe to say they should be much better known.

Clubbing, dancing, working out, gaming, househld chores – this is near perfect music for many activities one rather assiduously assays to avoid. They seem to be having fun and it's well product so s below-average in terms of obnoxiousness when compared to other synthetic-electronic-dance music-big beat entrie; thus, it could comfortably replace several of the disposable records of similar ilk on list proper (looking at you Basement Jaxx, Shamen, Prodigy and Les Rhytmes Digitales, among others). Not terrible, just not one's thing.

Maginifique, pass the brie and chablis, s'il vous plait, and put on one's beret. Great add to this list and could/should go on list proper. Hollywood Star well deserved.

One can't claim to be a big Ween fan, but this is right up one's alley. Whacked-out like the Beta Band (to which one just happened to listen) and equally tuneful and all over the place. Plus, it's just fun. The last songs are legit prog exercise – easily a top 10 prog album of all time (maybe). Definitely could suit the list proper -- just of 2004 entries, it could replace NERD, Libertines, Mylo, Liars. Great choice – thank you, recommender.

One can see the appeal even if one doesn’t dig in the least, which presumably makes one a Tool hater, a position one understands more readily (indeed instinctively) than the pro-Tool view. Does not need to be on list proper.

Let's be clear that this doesn't explore new sonic territory so much as extends and updates what Smith has done well over the years – and in an age-appropriate way. It's also worth acknowledging how hard it is to know how to feel about the late-career outings by the giants of previous eras – so many seem like desperate and/or embarrassing and/or flailing grasps for a relevance long since lost or (to be even more cynical about it) straight-up money grabs; others lack urgency and/or meaning and/or impact because principals (artist and listener) have changed too much over time for the connection to matter much anymore. But of course there's nothing to be embarrassed about here, only much to ponder and reflect upon and be pensive about. Of course Smith would be more up to the task than mere mortal artists, building on, modifying and refining those attributes that made his band so powerful. First of all, he knows how to avoid the pernicious influence of hyper-pop and.or other trendy fads that have all the staying power of a sugar high. This feels mainly like an updated Disintegration (the right record to update or use as a template), with there's a firm yet fluid foundation of bass and synth underlying nearly every song, upon which the beautiful shimmerings and thoughtful flows and swirlings occur. The opener and closer deliver these vibes most effectively in their layered and mid-tempo stateliness, richly and darkly resonant of lengthening shadows, reflection and contemplaation, a certain weariness of soul but also the need for commitment courage in going on to navigate difficult times and/or the effects of aging and/or the hard reality of mortality (that's what one hears anyway). Note that the vocals "Endsong" (cf. "Evensong") don't start til almost six and half minutes in (twice the three-minute lag on the opener). And note how the shredding (which could be read as showy) remains in the background and only serves to the overall atmospere of near tangible melancholy and substantive emotion. And how's this for an album-closing lyric: "left alone with nothing / at the end of every song." Which of course is the perfect answer to the lyrics on the opener: "This is the end/Of every song that we sing." "I Can Never Say Goodbye" is also in this unhurried mode, with a long opening that is both calming and weighty. Though not Beethoven's final string quartets, this project is about as close as pop-rock music can probably get to such a late-style monument, evoking both old faves and honors the Cure's deep canon and proud/unique legacy. Great choice, recommender. One will keep continue casting one's lot with these late-period efforts by the favorite artists of one's youth (and early adulthood, and early and late middle age, etc.), knowing that they won't all be as great and rich and soothing and life-affirming (even in the face of death, which is getting closer as Smith rather eloquently reminds us).

All the bouncing gives one motion sickness, basically. The accordion, cello and other flourishes only do so much to counter the near-embarrassing vocals and showy virtuosity and silly noodling, of which there is a deeply annoying excess. For instance, “American Life” might add up to something if the tricks and filigrees were subtracted. Lighter/brighter tunes and melodies mighta improved the dark, alt-y/thrash-y/metal adjacent gloom and better suited the forced silliness and clowning about. Might one have liked this record more had it included a cover of, say, “Walking On Sunshine”? Definitely maybe. Or maybe LC coulda joined Pat Metheny’s band and restrained his worst, most grandiose impulses and learned to play a little slower and in service of something greater (and deeper) than showcasing his masturbatory thumpings and oddball sense of humor. There’s something vaguely Zappaesque in the attitude and orientation (maybe even Grandpa Jones in the affected funny voices) so could maybe swap out with one of those (or Alice Cooper) on the list proper. But that’s not exactly imperative.

One has to be a lover of dirges (and then some) to get into this record, which takes its time and forces listeners to wait … and wait … and wait for songs to develop and/or resolve and/or get anywhere, which not all of them do, being borderline catatonic. This is slowcore that mighta benefitted from a bit more shoegaze (or at least rhythm), though full marks to them for doing something (at least a little) different (though not as well as Cowboy Junkies, say) and mostly sticking to it with subtle gradations of progress over time. Caveat: one was once haunted by this record whilst listening far from home and on quite a long journey, but listening today, decades removed and with a good bit more objectivity, with one’s proclivity toward panic attacks and nervous breakdowns mostly mitigated, one finds it mainly dull if arty and intermittently interesting, if too long and insistently — excessively — dirge-y. Vocals – especially the male’s – are a problem; in some cases (e.g., “Embrace”), it’s not clear they’ll make it to the end of the song without nodding off. Similarly, the glacial pace leads one to wonder if they are finished learning how to play their instruments. “Like a Forest” and “In Metal” (which comes to life with fairly straightforward strummings pushing it just a touch more upbeat) are best cuts, which suggests waiting (and waiting) does deliver at least some payoff in the end. Makes sense for this to be recommended – one likes it better than say Beach House or The XX, though I Could Live in Hope seems a bit better, purer somehow, and more atmospheric.

Every break-up (and break-up record) should be so sweet-intentioned, insistently lilting and tuneful – warm and affable even. The whisper-falsetto vocals seem like they might get tiresome but never do, quite. Certainly they reflect the emotional fragility of the subject matter and situation (as well as also being evocative of Mojave 3 and other most likable and prestige-y bands [in one’s own mind]. Sonically, it’s charmingly different and resolutely dreamy and mostly soothing – one definitely digs. Playing and instrumentation (including organic and electric, like the bleeping keys [or software]) and arrangements all set out to shimmer, and succeed, don’t they? Whole thing (basically every song) works, though first side is stronger, starting directly with the lovely opener and the Beatlesque second cut, and the second half definitely has darker (and longer) shadows. “Kaitlin” is most favored cut. One caveat: could be said to be Sufjan, Jr, innit? But if he’s good enough for Sufjan, well then …

Was totally expecting empty-headed hyperpop but instead – what a voice and presence and what smart/tasteful arrangements and smart/savvy playing around it. This is high-end quality, polished and mature (perhaps great veteran producer helps?), with five first-rate songs – the opener (even if it has a drum part like "Ride Like the Wind"), "She" (with a most credible ax solo), "Sunflower" and closing title cut is just great – Coldplay should be so lucky to have sincerity shine through so soaringly and effectively (God knows they reach for it). As for this being "rock," one thinks not, or only the softest variety; this is fine pop, modern and R&B inflected, like Bruno Mars, sufficiently masculine and assertive, with full-on positivity that gets close to excessive (see "Treat People with Kindness" – right sentiment with way-too-cloying, near-cringe arrangement) but stays just on the right side. Thanks recommender for making one slightly less cynical about one's kids' music and celebrity culture, too. So, yes, let's get this on the list proper post-haste. No way Ed Sheeran is this cool, right? Or Post Malone, or Charli XCX or any other trying-way-too-hard celebs. Definitely could replace Lorde or Adele or Fever Ray (just from most recent years' entries).

These guys were epic before the term/concept was invented. The textures vary enough to retain interest. The spoken word bits feels a bit uneccessary, but fine. The tensions are great, the risings from tragic to triumphant and back again. Definitely could go on list proper, replacing just from 1997 Mariah Carey (obvs) and Robbie Williiams (obvs again), but also (for one's money) Daft Punk and David Holmes and perhaps even Supergrass (for reasons of seriousness of intent). Thanks recommender for reminding one that this universe.

One can find this passingly amusing, be impressed (even amazed) by his career longevity (to have lasted so long and keep making the same records in a very silly vein seems a minor miracle), and allow for the reality that the list proper could use more accordion (and perhaps less cowbell), while still thinking this is a total waste of time and in no ways necessary to be included on the list proper. And one knows major fans – people whose opinion one respects – who consider WAY a genius and recommender deserves props for thinking outside the box and making a distinctly different choice. Still … one can’t be bothered.

One’s a fan, generally, though mainly of Finn, whose solo work one’s always preferred because it seemed to allow for more variation in the musical style than the rather more straightforward (and thus tedious after a time) rock arrangements.One suspects the lead guitarist probably didn’t like sharing the spotlight with Finn (oldest story in the rock and roll universe, innit). Here “First Night” (the tune least similar to all the others is, not surprisingly, one’s fave), “Citrus” and “Chill Out” offer color and depth, transcending the bar-band dynamics. “South Town Girls” has best guitar sound/licks. Good title, too. Obviously the lyrics are great (though music too often obscures them), the tone and style of mid-century modernism applied to 21st-century youth and consumer culture (basically) – CF is the midpoint between Berman and the Boss, maybe. Sometimes sounds like a Randy Newman tribute artist. Bonus points for the Berryman references in the opener. “Walk around and drink some more” is an all-time THS line. Maybe goes to well too often with a few themes not counting drinking/booze – Mississippi River, Jesus, St. Teresa, kissing, dancing. Good choice, recommender and easy to have this replace (just from 2006) Muse and the Arctic Monkeys. One will spend more time with these cats.

This is quality overall, nicely evocative, generally playful, engaging and entertaining, but first cut does not appeal and is a real problem – suggesting that what will follow is more vanishingly insubstantial, borderline disposable electropop. “Death and Romance” and “Fear, Sex” – she definitely knows how to mix thanatos with eros and pathos. “Killing Time” seems the best cut, pretty stylish and sophisticated pop. “Watching TV” is pretty cool but that repeated juddering figure/effect is annoying. “Tunnel Vision” is uber-catchy, but too long and ends up feeling overstuffed with ambition. Bassline from “Cry for Me,” another plus tune overall with cool strings interplay, is stolen directly from Tame Impala. Baby-talk vocals (vaguely reminiscent of the excellent and woefully underrated Tennis) work more than half the time but do threaten to become annoying. One’s glad to have given this a full listen (thanks, recommender) as one way prefers to Perfume Genius and Caroline Polacheck and Weyes Blood (an artier adjacent act of same vintage). List proper will likely survive fine without adding this (not like the world needs a bunch more pop of this ilk), but, yes, okay, fine, switch this out for Christine and the Queens and Lorde and Adele (though not exactly a like-for-like switch, this would be an improvement).

One’s impressed by the number of Tool fans who have completed the list proper but certainly not by the music, though this seems maybe slightly better (primarily for having a lower volume of metal and metal-adjacent sounds and passages) than the other two recently heard entries. Being bombastic and too long is not a winning combination. Fine to switch out with Sepultura, say, or Metallica (or Motorhead or Judas Priest or Iron Maiden or Pantera or ...) on the list proper though it won't move the needle much.

Sure, huge in Canada and all that. But the jokier cuts and forced wackiness/zaniness undercut the impact of the more direct and earnest ones (in addition to being annoying because too cute by half). Perhaps if one weren’t so cynical, one would find it heartwarming and positive. But the straight-up rip off of Paul Heaton and the silly band name are just too much to take – at least he acknowledges same in opening cut. And the overall lark-y effect prevents one taking this too seriously and the comedy isn’t exactly elevated or refined (much less or even very humorous, which is a problem, though perhaps it’s a Canadian thing [take off, hoser]). The playing is fine, relatively crisp and listenable, if mostly tame and anodyne (Housemartins certainly can do darker); one certainly doesn’t mind the jazzy or easy listening vibe but it’s not too transforming or virtuosic or anything. Not imperative to add to the list proper.

Great back story, great add One hears as much Donovan as Dylan. Smartly varied sonically — understated brass and strings and synth (theremin maybe?) on opener; great bass rumblings and gentle organ interplay on “I Wonder;” vibes or marimba on a few different cuts; heavy dose of psychedelic grooviness and Deep Purply guitars on “Only Good for Conversation;” strings on “Janis.” Well worth this discovery — thanks recommender (and documentarist of those several years ago). Could replace any number of its peers on list proper, either John Martyn record or the Dennis Wilson record (decent as all those are; this is better); any and all Scott Walker but perhaps most fittingly any of several of the vintage paisley generation (Moby Grape, say, or the Electric Prunes) .

Oh, one wants to root for this cat, if only because “Wouldn’t It Be Good” is an all-timer and one wishes he weren’t a one-hit wonder (though US-only, one realizes) – almost the poster child for one-hit wonders and all the attendant misundertanding of their efforts. But it’s just way too synthy and dated, just drenched in ultimate ‘80s cliches (admittedly before they were such). Opening notes of opening cut nearly ruin the record right out of the gate. What’s needed is more indie-rock guitars and less Devoesque-Sprockets-y feel. One’s right in the target demo for a song like “Bogart” but it’s just too fakey-lurid synthy – wouldn’t Rick need some piano and/or sax if he were to say “play it again, Nik.” “Won’t Let the Sun Go Down” is decent, has potential (weird that it was higher-charting than “Wouldn’t It Be Good” – rather complicates the one-hit wonder theory, it should be noted). Poor kid, one so wishes Live Aid had gone better for him.

Just great, not a foot (or note) put wrong and a fully, worthy winner of the '79 Pazz and Jop poll (no mean feat that, topping Elvis Costello, Neil Young, Talking Heads, Van Morrison and many more). Just about the Platonic ideal of pub-rock/gritty early new wave – tight and crisp, acerbic and wity, and packing major punch in just 35 minutes (take note, 90s bands who did nothing but bloat out their records). Sadly and somewhat unfathomably, GP lost out in the market to (the very similar) Elvis Costello and Joe Jackson. Great choice, recommender, serving as a conscience here, reminding us of acts that matter. It's a no-brainer to get this on list proper, please -- replacing Numan, Germs, Slits or Damned (just from 1979) would be big improvement

Progressive metal, eh? One wonders what makes it so – the screeching/beseeching vocals? The guitar pyrotechnics? The gesturing at least at melody? Okay … we’ll it’s like the other metal genres in that one more survives, rather than savors, the listening, though this is far from the worst. Though that slow dance tune -- how many fans did that embarrass? Did their girlfriends like it well enough? Still one’s mind wandered, dreaming of Dreams So Real, Dream Syndicate and dreamier indie rock. No need to put on the list proper.

This seems of significantly more musical interest that much of the other metal presented here (whether death, doom, nu, post, progressive, sludge, speed, gloom, glam, death, thrash or any of the various cores). Perhaps one likes it more than other metal entries because it’s less metal generally. Consider how “Maritime” has as much in common with Lanterna than Metallica. As noted, the vocals are atrocious and completely unnecessary – the instrumental sections are the strength here. Not sure how well the titular metaphor gets paid off in the end. One would be fine with this replacing any (or every) other metal album on list proper.

Lively and likable and ... Lancastrian! One digs and is glad to know MTV reached Spain in the '80s. Not hard to picture the winged hair and Members Only apparel in the crowd for this lot. Good call, recommender -- and yeah, sure, let's put on list proper.

Pristine and pleasurable to hear (as far as the blues can be), though by-the-book renditions of blues standards and classics. And good to be intro'd to a few artists one didn't know (or not very well anyway). But is it really a KWS record or are compliations like this a bit of a cheat code? One assumes the recommender was trying to just increase the volume of blues within this project. Honestly, thought, one would prefer a record by Cootie or Pinetop or ... still, rounding up because this record's heart (and that of the recommender) is in the right place.

Perfectly fine and free range, 100% organic inide rock from the aughties. One likes these guys more than Mumford, Magnetic Zeroes, Avett Bros and Old Crow, (but less than Dawes). The other commenters seem on track (one shares their sentiments generally) though this is considerably less stompy/clappy than this genre (or sub-genre) at its worst. It's relatively quiet and reflective and played on traditional instruments -- all of which are a credit to the Lumineers (and the recommender, by extension). So rounding up.

Upbeat, frolicsome high-energy and youthful. Generally likable if callow (though it's wise to observe sincerity's scariness – one couldn't agree more). Of the moment in its open and unapologetic uber-poppiness, but also brings some intense and (somewhat) edgy rock energy. Healy seems a midpoint between Jamie Cullum and Harry Styles, on the coolness continuum anyway. One could do without the vocoder / auto-tune, of course (especially on the opener where it gives a bad taste right out of the gate). And it's def too long (or maybe they're just paying homage to their musical heroes from the 1990s). The album and song titles (and cover) are all pluses. In terms of list proper, certainly it could replace Hookworms and Christine and Queens from class of '18. Still decent listen from a band one might be inclined to spend more time with – so thanks recommender. Rounding up because all young bands should be this excessive, so shambolically all over the place.

One struggled to take this seriously when one was young – and one was too busy graduating from HS and screwing up one's first year in college to pay it any attention. That struggle continues. Every song is crammed with too many ideas, layers and effects and the 80s production tropes don’t stand up (not that one thought they sounded very good in real time either). That said, there are notable hooks and melodies that save a few songs (“Just Another Day,” “Save”). Title track is terrible – too long by 2x (at least) and “Weird Science” is guilty by association – anything that causes anyone to think if Anthony Michael Hall ever – like ever – is doing consumers a deep and egregious disservice. And the name – oy! – hard to credit anything from “artists” that would make such a choice. Also, Elfman sings very much like Kevin Rowland – who copied whom, one wonders, but not intensely enough to spend any time figuring it out. No bonus points for the OST since most of the films he scored were lightweight garbage. Having lived thru the '80s, one should be in the demo for this but can't abide, apologies recommender. Maybe could switch out for equally loathsome and silly records from the class of '85 (A-ha, say, or Scritti Politti) but that's just rearranging out-of-fashion deck chairs.

Not one's thing, personally but obviously they are fun and know what they are doing. More than one of the world's great bar / wedding bands, but probably couldn't get all the way there in the full commercial market, one feels (the Beatles cover kinda gives away the game). Still, the impulse to highlight famous regional bands is a laudable one.

One likes the driving, intense tempos and edgy focus. Got a little Foals in it. But then too many metal tropes keep creeping back in, way dumbing down the overall experience. So just okay overall. “My Ashes” is strong, well-balanced, thoughtfully executed. It’s all too long, too (occupational hazard with prog, one suposes). Can’t in good faith recommend this for inclusion on list proper, save for replacing any outright metal records (and maybe ELP, too).

Awfully ponderous and generic, metal lite (but with all the bombast) and typical of the era. Not one’s thing, though can see how others might go for it (mainly the brooding intensity, which falls pretty faux on one's ears). No need to add to list proper but one wouldn’t notice if it switched out for basically any other metal album.

Thanks to recommender for connecting one to a band one missed in real time. Not exactly massively original (a few cuts sound like Thom Yorke sing-alike contests), but this is very well-executed in an Editors- and Interpol- and Snow Patrol-adjacent sort of way. This sticks just enough to indie side and just far enough away from ALT (plus they're well-schooled in shoegaze, seemingly). Properly brooding without aiming to make performance art out of it. Tone and tempo are dead-on. All that plus a song about Diana Ross, which sounds just about zero-like the diva ever did. About as good as Doves, preferred over later Coldplay. Would take this over the White Stripes record from '05 on list proper.

Not to be contrarian but one wonders if all the haters got all the way through the record, which is – indubitably – overdone and overlong (and overloud and overintense). But give it a chance and lots of great ideas open up. The Lydonesque vocals do get annoying but somehow they achieve/aggregate into a sort of carnivalesque majesty. One hears this more as theatrical art-rock and glam (Rocky Horror Picture Show comes to mind on a few cuts) and there are more sharp indie-alt edges and corners than prog tropes. It's more genre-blending than -bending. As with many double albums, it woulda been approximately twice as good by being half as long. One was won over by "Bellyeye" and "Odd Even" a half-dozen or so songs into the mix. After a time one was thinking it's like a farther-out-there, but much less pretentious Arcade Fire, maybe. And certainly it's much better than the Birthday Party, say, or some other less talented and schlockier anarcho-meisters. The cover shot does these cats no favors. It's unlikely one will spend much more time with Cardiacs but one's sorta glad to know of them – so thanks, recommender. Hold.

One's a big Mould fan, but this feels like maybe not his best or most distinctive solo entry (probably Workbook). This is more of what he always done well – poppy melodies, with furious feedback, the ebullient wall of fuzz – and could be mistaken for Sugar. Still, it's further and indisputable evidence of his ability to produce a high quantity of music at a very high level of quality. Indeed, one's lost track of all the mroe recent records (though just saw him solo electric recently). One would take this over at least one-third of the records from '96 (starting with M. Manson, Ash, Fun Lovin' Crims, LTJ Bukem, Jon Spencer BE, Sepultura, Fatboy Slim, etc.) but an indie rock person would, no?

Starts with suggestions of fairly generic industrial, then gets quieter, muting into real eerieness, ominousness. Tension builds like a scene in a zombie movie or futuristic paranoid political noir, but a significant proportion fails to hook the listener (this one anyway) and appears to just drift off. Doesn't do much for one to relax, but maybe that's the intent and a comment on the times. Straight-up bonus points for brevity, though a few of the more engaging cuts (e.g., "Delusion") mighta played out for much longer. "Hollow" is the other highlight. Would take this over much electronica on the list proper (though not over the few other records from 2019), for being more thoughtful and contemplative, though it's not likely one will be rearranging plans to spend more time with this record anytime soon. One feels comfortable having Z show the ropes of dark ambient/trance-y electronica music making to the next generation of Poles.

Such extraordinarily easy listening tends to hide the considerable substance here. Does seem perhaps excessively normie and in 2025, there's a sense of just how much this has been done (see recent Whitney-trashing Pitchfork review). And just to get the jokes out of the way, this is better than Josh Groban, but not as good as Josh Rouse (a long-time personal fave). Good line: “You dance you like don’t need no one else.” Thanks, recommender for this insertion as it encourages one to spend a bit more time on an artist one's mostly ignored. Could easily replace Muse and maybe Joanna Newsom (though the originality of JN is a plus) from 2006 alone and would likely take over John Grant, too, in the same genre category.

Seems less a record to hear before one dies as one to hear as one is dying. Pretty gorgeous and just about as ethereal as can be, an elegant sort of contemplativeness, it has, particularly when leaning into classical-inflected, Gorecki-esque passages (e.g., title track). Would have this replace many of the electronic records on the list proper, especially the dancier / clubbier ones (e.g., Coldcut, the Shamen,Goldie, Leftism of course the loathsome Prodigy, NIN, ilk, etc.) but perhaps even the more “serious” ones (e.g., Aphex Twin, Orbital). One’s been listening to a lot of Gas lately (esp in the mornings) and this will fit right in so thanks, recommender, and one will go off into the rest of the catalog.

Slowcore at its slowcoriest. One thinks of this lot as spiritual heirs to Giant Sand (when they are actually contemporaries, recognizing this came out same year as Chore of Enchantment). One prefers Sun Kil Moon and Red House Painters overall, but this is strong and original, fully authentic because of the clear and unwavering commitment to a singular sort of approach. It’s pretty deliciously dirge-y, and spectacularly spare (so thus a little one note). Magnolia Electric Co might be slightly more worthy based on extra musical bits. One wants more of such music on the list proper so could replace anything metal and from 2000 alone gimme this over Limp Bizkit and Linkin Park (of course anything would be an upgrade over those atrocious acts). Thanks, recommender, for reconnecting one to a band one doesn’t hang out with enough.

Low-key and lovely, warm and wondrous. Yes, AI bot, “quietly revolutionary indietronica” sounds just about right. The things are the emotional depth and richness (of the vocals in particular, with glitchy-twee synthy bits adding pathos and poignancy, too; “Pick Up the Phone” is a most humane sort of song), the well-balanced and thoughtful integration of rock and electronica elements and the sheer earwormery of “Pilot.” One likes how the title track even put links to psych folk as well – quite au courant, these German cats would be, eh? There’s a relatable and vaguely inspiring melancholy (as if sadness can be supered) that one likes (though of course one’s always turned to music [and pop music in particular] for reasons of solace and sentimentality). Didn't know this band beyond cursory awareness and listening (20+ years ago – seems like a millennia ago) – so thanks, recommender. Now do and will invest time to get to know them better. Intriguing, well-paced and diverse enough to hold one's interest across the record.

One's never quite sure how to feel about this act – might be a bit of a fan without wanting to admit as much: clearly CO is a skilled lyricist and able to turn a memorable phrase. And the instrumentation and sound/tone is well judged here, with more alt country vibes than one expected. On the other hand, the wobbly/wavering vibrato is cause for concern – too obviously precious (if undeniably enthusiastic and fully committed);, too obsequious in its outreach, too performatively earnest/authentic (though sincere). And one doesn't want to be seen as in any way endorsing or encouraging the excesses of emo. Impressive its pairing with the digital album too. One gets haters' POV but still finds too much too like, too many elements working well, basically. Probably belongs on list proper.

Not hard to see how this might be the album of the best summer of one's early- to mid-teens. But it wasn't, so, while perfectly fine, one can't get too terribly excited about this. And it seems derivative to the point of being imitative, basically, even duplicative. Whether Blink 182 shoudl sue them (or vice verca) for copyright violation, one will leave it to the experts to debate (in Manichean fashion, of course). Sure, replace this pop-punk with some of the more egregiously unlistenable punk records on list proper or Britney Spears (whose a decent comp for how seriously to take this artist). Rounding down because the cover suggests something like Ibiza chill.

Trying to assess on its own terms, one notes that, sure, there are some hooks, and crystal clear sound (skilled production), plus some technical shredding, more or less all over the place, but it’s all so circular (when it’s not going gunge-gunge-gunge with bouncy-bouncy drums). Those screamings / growlings might be mistaken for vocals if one weren’t careful (or didn’t know better). One was inclined to give bonus points for truth in advertising re the band name but then the song “Sacred Serenity” is anything but. Hard sell for reasons of genre.

Outlandish and beserk as all get out. But this woulda been significantly better had it been aimed at being actually, you know, better rather than just so resolutely different and willfully weird. So fine. Maybe the halfway point between Butthole Surfers and the Avalanches (or They Might Be Giants). Bacharach and surf rock. Polka-punk. Neo-cabaret, plus prog rock, plus big band jump. Club/dance and EDM. Metallic mash-ups right beside funk flourishes. A little doo-wop soul. Still a pretty fun ride and bonus points for letting freak flag fly, though demerits for being very much in short-attention-span-theater mode.

Utterly and note-perfectly gorgeous and ravishing in its restraint. A monument to understatement (if there could ever be such a thing) and quiet virtuosity. Nobody overplays or overreaches. Hard to believe A Love Supreme was not far away and that a single guy could cover such territory (this record being just about the opposite of ALS) and excel in old-fashioned modes, including with vocals (having such a skilled band, one of swinging so sweetly and subtly. Tyner's touch throughout is exquisite. And Hartman is the right guy for the job – listen what he does navigating the borderline unsingable "Lush Life." And there aren't many better ballads than "My One and Only Love." The depth and unforced conversational style. There should be several more Coltrane records (Ballads, Giant Steps, My Favorite Things), on the list proper and certainly this deserves a spot, too). There aren't enough jazz records on the list to replace but this is miles better than any of the garish-in-comparison and way overcooked Sinatra records.

The Parliament cosplay assessment feels unduly harsh, given the obvious joy (not to mention skill and vision) in the making here, given the dreamy opening passage, given the richness of the layering, and certain developments (e.g., the rocking and very P-funk like opening of “Boogieman” shifting to disco-inflected sunniness in its latter sections, teeing up the Ayers-like explorations of “Zombies”). But yes, P-funk is for sure a comp (by design), as well as Prince and Lenny Kravitz and Stevie Wonder, all of whose influences seem salubrious, additive. So if there’s derivative aspect, it’s not as if these are bad artistic choices. “California” and “Terrified” and “Baby Boy” and the closing cuts illustrate how well effectively the mood is modulated and how much interest is consistently delivered, with vibes and tone retaining consistency and coherence (not to mention great sounds) even as a mix of styles are blended. One feels no need to grade on a curve (“great album for an actor”) and has no dog in the fight relative to CG vs. Kendrick (they’re both great, obvs and this is much rockier anyway, more genre-spanning though offering less in the way of narrative scope or sociopolitical commentary). Anyway, this is great record (thanks, recommender) and definitely merits inclusion on list proper (one would easily take over Living Color, Jay Z and 50 Cent for starters and certainly MIA, Konnichiwa, some of the lesser Wu Tang spin-offs and probably another dozen or so one could name across genres after a full scan of list. Rounding up for positive vibes, too, but only slightly because this is not far from a straight-up masterpiece.

Fine, typically, Zappian (by which one means hugely uneven [though that seems a design principle]). One senses that one woulda liked/appreciated Zappa more had he played it straight more often. There are many interesting grooves, of which one would enjoy further explorations, but the forced and mostly silly prog-like shifts and fully silly cartoonish elements. It’s certainly no coincidence that the best song here, “Uncle Remus,” lacks those annoying attributes (not to mention any overly complicated jokes). One would not likely notice the difference if this were switched out with any of the other Zappa/MoI records (though probably excluding Hot Rats), but will leave it to the committed Zappatistas to debate (in sure to be Manichean terms) which merit inclusion on the list proper.

Starting with the bigger picture and broader time horizon – whether this retains relevance in the future and/or assumes historical import – one tends to the negative/skeptical view of things. There would seem to be more germane and weightier questions / developments – Will melody last? Music making on analog instruments? How about the future of transgenderism (sociologically, aesthetically)? – which this record’s fate is more likely to be a lagging indicator than a leading one. Tech-driven music such as this is predestined to seem dated given relentless advancement. Not hard to see how this will seem primitive compared to tomorrow’s richly dimensional, smart, smooth and sophisticated AI-generated music. And outreach to the broadest possible pop-consuming records makes this nearly throwaway by design, though (like the packaging of other mass consumer products), some elements may very well be recycled. Musically, one just can’t get there, though one has been well trained (by a few usually thoughtful critics, by the teenage girls in one’s life) to give hyperpop (both individual records and the genre as a whole) more than a full chance and multiple benefits of the doubt. The net-net is that one struggles to envision the circumstances in which one would be inclined to think “it’s SOPHIE time.”Lacks flow and soul and feels stiff with posturing (and what the artist may view as polemics) and what one can assume is rather elaborate and involved omphaloskepsis. It doesn’t seem particularly innovative in its use of synthesized sound, though one doesn’t feel qualified to judge her/their merits as producer. There are of course there are a few arresting moments (the beseeching vocals at end of “Intuition,” vaguely reminiscent of Purple Rain-era Prince; the more lushly calm and Aphexy expanses of “Pretending). Conversely, “Faceshopping” is particularly discordant (though the title is wonderfully suggestive). The decidedly overlong “Whole New World” is mostly tedious (bad video game music might be the best that can be said), no matter how much ground it aims to cover and despite the extended passage of reaching and breathy respite toward the end. The mindless-disposable boppiness of “Immaterial” just gets annoying, cheapening the music around it. One’s net-net grateful to be introduced to an artist so many seem to consider substantive (thanks, recommender). And rounding up because of respect for the too-young departed and for passing in such a poetic (romantic era, specifically) kinda way. Fine to switch with any hyperpop record on the list proper and let posterity decide.

Solid Scottish folk, but it strikes one as neither reductively Scottish nor entirely folky. “Sometimes” is a strong opener with clear indie rock vibes and broad, crowd-pleasing effects (no shame in that). “Diamonds in the Mud” is also excellent in much the same way. Freshly retrogressive one would say, rather than backward looking or excessively traditional. The whistling works too. One’s glad to have made this acquaintance, so thanks, recommender. Fine to replace the John Grant record or Joanna Newsom, and could be convinced that this is better than Devendra Barnhart even (though that choice would be mood-dependent). Now maybe some Arab Strap might be in order, nae?

This is the soundtrack to the ballroom scenes from The Shining, right? One digs the sepia-tone and vinyl-hiss vibes generally – strikes one as music to which to catch a big, druggy buzz by the fireside, say, as one muses one’s own mortality. And one’s all for musical commentaries on/explorations of the inevitability of decline and the odd, twisted beauty that can result from decay (human, spiritual, digital, analog and otherwise). Still, one is sympathetic to the argument that this lacks urgency and is too static (though warmer than say, Morton Feldman or John Cage). One prefers Basinski's Disintegration Loops (which would be a strong addition to the list proper if contemporary classical [or classical-adjacent] records were in the consideration set]). Song titles are most excellent (regarding the elusiveness of sublimity, truer words were never spoken). Glad to know this record and artist – so thanks, recommender.

Strange conjoining of excess ambition with excess earnestness, and it doesn’t really work to one’s ears. This style was getting nearly (and excessively!) ubiquitous at the time – Fleet Foxes and maybe Dawes (adjacent) were the only of these bands that one ever much fancied. One remembers seeing them live and thinking “cool, traditional/analog instruments and an old-fashioned vibe,” and then being almost immediately struck by their self-satisfaction and vanity, as if they thought themselves the first act to discover these instruments or sound and thought they were doing something unique or especially powerful with them. Their hearts were in the right place but maybe their egos had got outta control? It made one crave an actual punk band, preferably one fully aware of and not at all bothered by its lack of talent. Here, every song follows the same arc, quiet then loud, then lay-it-on-thick summarizing lyric (some of which sound like Nicholas Sparks – not a good look). Both singers are equally grating – coming off as pretentiousness in their performative purity and solemnity-seeking. “My Heart Like a Kick Drum” is a strong contender for one of the most annoying songs of the aughts or 2010s – and on every level (lyrically, vocally [oy, the screaming along with the cloying, uber-sincerity], instrumentally [there just had to be a glockenspiel, didn’t there?]). Maybe the simplest read is that they’re just an annoying (one of many) Millennial band. Somehow missed that this was a Rick Rubin production – shoulda known by its broadness, obviousness and overreaching – that checks out, totally. Sorry, recommender, can’t get behind this one for list proper. Maybe the painter brother shoulda stuck to painting (though even there the touch is more than a little heavy-handed [alas, poor Yorick,of course]).

One remembers thinking upon on first hearing PtL (lo those many years ago) that he (they?) were sure to be a favorite act but he/they never fully took (nor did his/their contemporaries Dashboard Confessional and Hayden). Perhaps one just couldn’t keep up with latest developments in fast-moving emo/slowcore/alterna-Xian space. This is a little one-note, if solid-consistent throughout, and just hits the bullseye on the slowcore-inflected-indie rock target/sweet spot. One likes the majestic, dirge-y and downbeat anthemic feel of the whole thing (especially “Options” and “Indian Summer”) and the overall (somewhat/hard-won) triumphant tone of surviving dark-hard times. Listening to the later records makes one think PtL has evolved as a less aesthetically-minded version of Bon Iver or perhaps a more approachable Kozelek. As for the lyrics, they are strong and interesting enough but let’s not get carried away; this isn’t Revolutionary Road or The End of the Affair and PtL isn’t Ian McEwan. Overall, glad to be reminded of this solid + worthy artist, so thanks recommender. This made some for quality and seasonally appropriate listening on recent grey and wintry days.

This is Weird Al in disguise, right? Though one’s impressed to learn of new sub-genres (sub-cultures?), its relevance to one’s life is not even close to tangential. Sure, maybe if there were a Netflix documentary about this scene, (especially if sexy groupies featured), one might be induced to watch. Musically it’s fine – sounding like Blink 182 here and They Might Be Giants there. But one has a strict policy of no more than eight songs about monkeys on any individual album and there’s a suggestion of audience participation that is distinctly off-putting. Thus, for all its niche-y-ness, this has to be disqualified from consideration for inclusion on the list proper (or from being taken seroiusly).

A concept album about food doesn't sound too appetizing to one's ears, but Doom does it right (fun, interesting, different) as is/was his wont. "Kon Karne" is one's fave cut. One gets a little exhausted by storytelling (as with Wu-Tang Clan) that more than once approaches outright silliness. Certainly at least one MF Doom record belongs on the list proper; probably Madvillainy would be the choice, but this is a satisfying and well-balanced meal, so thanks, recommender.

Crisp and sprightly throughout and generally likable and enjoyable. One fully endorses the view of this having excess theater kid vibes – In a different era, they mighta had a TV variety show, no? There is such youthful energy and enthusiasm and maybe idealism and innocence, too that one feels grouchy for not actually liking very much. But one gets to feeling sort of exhausted, as one does by overcute and otherwise harmless puppies wanting to play endlessly. Album title is too suggestive of novelty acts and coudln't have smoothed the path to mainstream exposure. Maybe slightly ahead of its time in setting up overdone hyperpop and let's-try-every-genre-known-to-man sense of many of today's billionaire stars. Maybe sticking to one or four lanes (less than eight anyway) mighta been more (as less almost invariably is). One could live with this on list proper if switching out this earnestness for the rather more louchely theatrical Alex Harvey or Softcell.

Pretty good, certainly energetic, sorta interesting here and there, and glittery-shimmering throughout (also occasionally nerves-inducing). But sub-compelling overall, if only because there's too much to listen to and an abiding uncertainty about whether to dance first or listen closely. A for effort, in other words, but points off for trying too hard and embracing the excesses of maximalism. Pop tropes and structures and instrumentation simply can't support such ambitious and proggy boundary-pushing; the synthy danceability and thinness of the sounds, which undercuts the seriousness of the effort (which is a real downside given the lyrical content). "Blast Doors" (because elevating) and "Pressure " (because direct and relatively stripped down) might be best cuts, while Habsburg Lipp" is probably the most annoying (there are multiple candidates). Please stop with the Radiohead comparisons – any band that names itself after another band's song automatically loses standing for such. TV on the Radio would be closer comp, but they too feel more substantive, darker and more worthy of taking seriously (besides being less derivative). Just please more guitars and straightforward arrangements to land the weighty-ish points that clearly wanted to be landed here, rather than the over-layered, extremely addled, sugary-synthetic-jitterry approach. One can't in good faith be suggested as an addition to list proper, though it's obviously preferable to basically all the non-Sabbath metal albums, plus NIN, Prodigy, etc.

It’s the warmth and positive-plus energy that sets this apart. And the clear demonstration of what can be achieved when playing with full commitment right down the middle, how directly bands might proceed if they have the quality to achieve richness in (apparent) simplicity. And of course there’s more depth and subtlety than seems on first listen, which have only grown more meaningful across the years (quality will not only out, but last). TFC very much stay in their lane and do what they do well again and again and again. So if one likes it (which one does), one will likely like much or all of it (as one mostly does). One would go so far as to prefer the Fannies (as the fanboy editors call them) to Oasis, whose bombast and willful idiocy look even more so after their recent tours. (L Gallagher was only off by one when he called TFC the second-best brand in Britain.) The harmonies do seem the special sauce – uplifting Byrds-like teamwork – though they can make the individual vocalists feel a bit flat in comparison. Also, this reads a bit like a dress rehearsal/dry run for Songs from Northern Britain, which is more elevating-soaring-life affirming and a superior effort on the whole. And Grand Prix is also a tick below Bandwagonesque, too. Still this is strong and bracing and richly satisfying to hear overall (plus it has a great cover). So way to go, recommender, and let’s get this on the list proper, along with SFNB, instead of almost any one of Blur’s too-many entries. It’s the warmth and positive-plus energy that sets this apart. And the clear demonstration of what can be achieved when playing with full commitment right down the middle, how directly bands might proceed if they have the quality to achieve richness in (apparent) simplicity. And of course there’s more depth and subtlety than seems on first listen, which have only grown more meaningful across the years (quality will not only out, but last). TFC very much stay in their lane and do what they do well again and again and again. So if one likes it (which one does), one will likely like much or all of it (as one mostly does). One would go so far as to prefer the Fannies (as the fanboy editors call them) to Oasis, whose bombast and willful idiocy look even more so after their recent tours. (L Gallagher was only off by one when he called TFC the second-best brand in Britain.) The harmonies do seem the special sauce – uplifting Byrds-like teamwork – though they can make the individual vocalists feel a bit flat in comparison. Also, this reads a bit like a dress rehearsal/dry run for Songs from Northern Britain, which is more elevating-soaring-life affirming and a superior effort on the whole. And Grand Prix is also a tick below Bandwagonesque, too. Still this is strong and bracing and richly satisfying to hear overall (plus it has a great cover). So way to go, recommender, and let’s get this on the list proper, along with SFNB, instead of almost any one of Blur’s too-many entries.

How does one say Madonna in Japanese? (マドンナ, apparently.) Still this is pleasant enough (if of no more than gossamer weight) and sufficiently sophisticated (and thus more to one’s taste) that its replacement of Britney Spears, Ute Lemper, Neneh Cherry, Adele, Lorde, Fiona Apple or the Pet Shop Boys would be salubrious, indeed. Thx, recommender, for adding a global perspective here during a time when it’s increasingly in decline.

Lovely and austere and nearly as wintry as For Emma. Given the too-perfect myths around the debut, one would’ve doubted his ability to deliver such an excellent second effort. “Holocene” is as good as anything he’s ever done (not a hot take, one recognizes). One instinctively prefers the organic/acoustic BI to the electronic/auto-tuned version, but one’s always been impressed by his ability to evolve – indeed his commitment to exploration as a means of growth. Not that it always works. Some of the later work sounds like change for the sake of change, too much noodling, tweaking, experimenting just to avoid repetition, which can lead too far away sometimes from his own considerable strengths). “Wash.” and “Calgary” near-perfect balance of these two modes of – the electronic (synth) with the organic (steel guitar) vibes. Later records lean too much to the former for one’s taste. More impressive is the balance between the sad and hopeful vibes, the despairing and elevating. Perhaps its slightly less memorable in one’s mind than the damn-near revolutionary For Emma (which gets points for newness). But it’s close and the Grammy seems well deserved as it holds up well (it might surpass Emma in time). This is obviously more than suitable for the list proper – indeed, its exclusion seems a gross oversight). Could replace t replace Kanye or Taylor even and one prefers it easily over a huge proportion of the 1,001 (perhaps as many as 500.5).

This is perfectly fine, plus great band name, and quite good fun and well-above-average, upper-right quadrant of the clever-literary matrix of early-aughts indie rock (which is saying something given the many artists flooding that particular zone at that particular time In that vein, one might say this is Manitoba’s version of Fountains of Wayne.) Playing is crisp, energetic and genre-sampling (a little alt-country twang here, a little punky/alt-y lick there). One’s a sucker for songs about or art from Winnipeg (see Guy Maddin The Saddest Music of the World), as well as Martin Amis references. (Speaking of Winnipeg, are these cats to be rated above The Guess Who? One votes yay.) Not that this is life-changing, just well conceived and well executed and, taken in the spirit in which it’s quite clearly offered, it’s hard to argue with a single note of it. So what one wants to argue with is the original Pitchfork review (5.6) which is centered on it being tiresomely clever, too much, smug, self-impressed, etc. -- all the adjectives you’d expect for Decemberists’ reviews (which are almost uniformly positive and rhapsodic). So what gives, Pitchfork – like anti-Canadian bias? Got that one wrong, they did, except for their appreciation of the cover. Rounding up for all that (but only slightly and also because Canada). Thanks, recommender. This is worthy to know and one will spend some time on the back catalog and the other branches of the Winnipeg musical tree, which is far more extensive than one woulda guessed.

One feels bludgeoned by all the excess, primariliy the ambition. Musically, there are only a few minutes. Fine to switch this out for Janet Jackson (not Solange, though) on the list proper for when it comes to celebrities of this scope and weight one can't muster much caring.

One likes the weirder, looser, more Macca – so the whole record works from that perspective. There’s a sense that on these solo records, he didn’t need to seek perfection (perhaps in perceived competition with the three guys he used to play with). So things come off as more approachable and can seem insubstantial (early Landau and Christgau reviews were accurate in that regard, but of course they were looking for majesty and profundity and couldn’t know how pop music was going to evolve and make this seem prescient in retrospect). Yes, it gets sloppy-noodly at times and a case might be made that much sounds unfinished, barely sketched out; but the suite-like structures and lush orchestrations allow for – or practically invite – such missteps (and also cover them up effectively). “Ram On” and “Heart of the Country” are slight-seeming but most pleasant to hear. “Dear Boy” is proto-chamber pop, lush, self-contained and excellent. “Long-Haired Lady” aims to be same, though less effectively. Then there’s “Uncle Albert” (one imagines it’s one of Robert Wyatt fave tracks). “Monkberry Moon Delight” is sharp and edgy and a touch strange (in a mostly good way). In other words this record has many merits other than not including “Silly Love Songs.” One’s always preferred Band on the Run as his strongest post-Fab output and have been pleasantly surprised, in the course of this 1,001 exercise, at the quality of the solo work; this and eponymous record are about on par (Ram is slightly preferred and so could switch out on list proper) and both are well worth-knowing. So thanks recommender for rounding out the broader McCartney picture with this record that’s clearly improved over time.

If one had even a shred of doubt about the disposability of pop culture (including a good bit of the music one takes seriously) and meme culture specifically, let that shred be gone forever. Some of the mashing is inspired – Smells Like Billie Jean Spirit, anyone? – and it’s difficult not to admire the boldness in the face of copyright risk and the associative connections. One certainly doesn’t mind Alanis getting this treatment and Smash Mouth might be considered improved, if not redeemed. On the other hand, “Imagine” suffered enough during the lockdown. Still one would think the energy and effort might be put to more creative and original ends. Is this what happens when Weird Al discovers AI? And such a fine line between stupid and clever. Glad to be exposed to this (thx, recommender) as one who was not extremely enough online (maybe) in 2014. Fine to have this replace the more soulless electronica and dance club albums of the latter years on the list proper. One will no means be inspired to go check the other installments in the mouth series.

Solid and right up one’s alley, but not exactly blazing with originality. At least, however they have the good sense to mimic quality bands (most notably [and obviously] TVOTR and Arcade Fire). That streaming algos spit out a succession of interesting, similarly engaging cuts after the album ends also affirms the quality here. One vaguely remembers trying them out in real time, but they never took, though they might be worth a rotational turn or two now (and what more can one ask for any recommendations, not just those from this esteemed group). Rounding up because cool band and album names (and cover image).

Not hard to see the appeal of the direct (and surly-moody) attack it's an encouraging sign young people are still making and listening to this kind of music. But one honestly prefers Parquet Courts and Fontaines DC.

Sometimes the right record hits at the right time; this is one of those records – serendipity would be the technical term, one thinks. Suited the mood and the day (which was grey and wintry and so which maybe called for something relatively restrained and anodyne) of hearing so rounding up. Plus, it’s tasteful and understated (especially “Intouchable et immortel”) and the list proper does, on balance, lack in those qualities. Maybe sounds a little too much like a Francais David Gray for comfort but otherwise pretty chill and a most pleasing listen. One suspects one wouldn’t be a superfan if one spoke French, though better than Celine Dion of course.

Perfect example of why this exercise (including personal submissions) is worthwhile: vaguely recall this act but didn't go deep or get engaged until being returned to this utterly charming, chill and sophisticated record and then the extensive catalog behind it (to which one plans to return often). "Smalfilm" is sheer class, a standout amongst a very strong set of songs. "Bagagedrager" and "Astronaut" are also standouts. Thanks, recommender. Definitely belongs on list proper -- should immediately replace all the big-beat nonsense, say, and from 2002 (a very good year) this could/should bump Coldplay and the Vines.

Emo meets alt rock – what could go wrong? Seems like peak loud-quiet-loud. (Or is it quiet-loud-quiet?) The intensity seems authentic but as too often with this genre and era, it's overwrought and record is too long. One would have no problem with this replacing RHCP or RATM on list proper and/or anything from rap-rock or funk-metal sub-genres.

Maybe slightly ahead of the curve for early to mid-90s and one gets its reputation in the post-hardcore canon.Certainly it’s smarter than Linkin Park and less bombastic than Metallica and offers less “dick-waving technicality” (as AV Club review put it) than Limp Bizkit and the like (which are of course extraordinarily low bars). But still this is decidedly not one’s thing – there’s just too much metal in it, whether nu, skate or some other strain. More melody within the mud is wanted, more Mascisian yearning called for (“Freezing Process” and “Lie In Wait” maybe get closest). Serious demerits for desecrating “How Soon Is Now?” (one wonders what Morrissey makes of that.) Additional points off for clearing the way (or at least making the world safer) for the most moronic and jockiest sort of alt and funk-metal/rap-rock and the like. One can’t directly or entirely blame Q’sand for the likes of RATM, Tool, Incubus, etc., but they certainly didn’t do much to protect poor, defenseless music consumers from the brainless offenses of that ilk of acts. That said, no problem to switch this out more or less any metal album on list proper and/or the sillier/more moronic/most pretentious acts in adjacent genres.

Solid, pleasant listen throughout. "Walkin" is top cut. One confesses to having always been partial to the Conscious trend, though this doesn't much transcend, however, so can't rate too highly. Better than some of the latter-year hip-hop entries on list proper (and Lord knows less Kanye would be good about now) so fine to swtich this out for those.

Some good stuff here, and has a nice vintage rock feel, but vocals are annoying (though seems like a legit frontman). Disqualifying because a compilation.

Among Canadian artists, one prefers Glenn Gould, Cowboy Junkies, Neil Young, Rush, Leonard Cohen, Joni Mitchell, k.d., lang and Broken Social Scene, but might take these cats over Arcade Fire (because of their pretentiousness) and certainly Alanis M (who is really from LA, obviously, like Wayne Gretzky) and BNL and Alexisonfire and the Guess Who. One in no way buys the REM comp – because Stipe's a better singer (plus Mills harmonizing) and Buck a better guitarist and they covered far more territory and basically created college rock – but one supposes it applies to some of the duller, late R.E.M. records. General issue one has with the Hip is that they're just so right down the middle. But fine, it's good, it's a middle one mostly likes. "Boycageon" is a great song and there are other winners ("Escape"). Rounding up because tariffs and one's always like Canada and most things it represents. Certainly we need more songs need hockey (and Bobby Orr) references. A worthy listen so thanks recommender and one was interested to learned about CanCon requirements, plus their endless touring and the final emotional farewell tour. And the postage stamp. And the songs about obscure old hockey players and even more obscure Canadian novelists and First Nations.

One wants to say summin’ like “y’all haters, you know what I’m sayin’, let’s give it up for hip-hop from the Pine Tree State” because this, while not quite slapping is pretty chill and smarter than expected. Not so much as eminem (a good thing maybe), and there’s something straightforwardly traditionalist about this, which is somewhat to one’s taste (recognizing that it’s not exactly wildly innovative or ambitious). “Dudes” is good fun and “Motherf’s” and “Shining” (among others) have likable, R&B-inflected beats/beds. “Hypocrite” also solid, accessibly ear-wormy while “Back in the Bag” effectively updates G-funk via marriage to a woozy/drunken, Bill Evansy piano (apparently original). Bonus points for name-dropping Edgar Allen Poe (great pedophile, he) but points off for name-checking Devin Booker (not exactly Magic Johnson, he). Yes, it’s too long but not tediously or boringly so – consider how the last instrumental bed on last cut is among the most interesting bits of the entire album. One appreciates picking this one up – so thanks, recommender for making this exposure. This could easily be switched out for some of the more dated or ridiculous hip-hop records.

Lovely and contemplative, this is right up one's alley, though of course it could be read as derivative or Part, Glass, Kernis, etc (though ot course those are right artists to be derivative of). The last piece just as luminous-shimmering as music can be. Belongs maybe to another essential listening project (otherwise why not add Kronos or Danish String Quartet or Max Richter?). But sure flip it out for one of Bjork's lesser offerings (or any heavy metal record of course).

Tasteful and well-made and mostly credible and enjoyable, but super-safe and well-mannered. In that vein, the earnestness of the vocals have always been a bother – so Millennial (and thus annoying). “The New Year” is a proper way to start an album –quite strong opener. (If High Fidelity were set in the early aughts, perhaps it woulda been in the side 1/track 1 discussion.) Title track mounts up a lot of power from very simple figures and cadences – generally effective but not hard to read as cloying (and overearnest). This is easily solid-decent but it’s been subject to much overrating (they are, at best, a 2nd or 3rd-tier indie band). Looking at 2003 alone, not sure this would nudge much other than Mars Volta, The Darkness and Lightning Bolt. Rounding more out of respect that actual regard.

Perfect holiday album, such lovely melancholia, with or without the broadcast.

One's an Isbell fan but this is no better than fine, and seems mostly forgettable, not even close to the excellence of Southeastern, which one rates as one of the best records of the 21st-century (not just Americana). To be fair, none of his recent records have reached that level to one's ears (despite the plaudits and awards). Lyrically, there's increasing evidence of him losing his touch: "I love my love" and "let love knock you on your ass" – this is not quality songwriting. Musically, nothing transcends here or even stands out, it's all too singer-songwriter; he needs the 400 Unit for depth and reach and richness and variety. One knows about the recovery and now divorce, etc. but still can't justify adding this to the list proper. Might be time for tough love when it comes to JI (and more listening to MJ Lenderman).

Pure happy funk, if a bit on the baroque side. The sheen on the horns (and outfits and hair styles, including chest hair if memory serves) is such that one feels the need to wear sunglasses whilst listening. Maybe a touch below the overall quality of Way of the World (but that’s still a very elevated position). The power stack of horns and vocals is outstanding, one of a kind really, and the spiritual uplift/life optimism is also very much a feature. One wonders if hip-hop should be interpreted as a reaction (counterrevolution) to this form of over-the-top funk as punk was to classic/arena rock. Also worth asking if disco net-net benefitted EWF or made them seem tired and bloated and too mainstream before their time. At any rate this is a delight and certainly merits a position on list proper – EWF deserves two slots, easy, so good call, recommender.

“Edith Piaf meets LSO to remake the Passion of Joan of Arc” sounds more like an AI prompt than a pop album. Sure, it’s new and different and crazy ambitious but those aren’t necessarily all upside features. Indeed, one can be impressed by the voice (and multilingual vocals) and the scope without thinking it works very well. Primarily because it’s just too much and over-reaches throughout; one feels bludgeoned by the spectacle rather than enriched by the substance. The vibes are more Madonna-Evita or Baz Luhrman than Bjork or Kate Bush (heavens, no). When pop culture so overtly aims to burnish its serious aesthetic credentials, folks of refinement and taste will remember precisely why it can so infrequently be taken seriously. Here, there’s too much that’s discordant –tutti-scale concerto strings that give way to raps like “fuck you til I love you” and other spoken word banalities. Bottom line: this hasn’t exactly stood the test of time – clear recency bias at work here (though one's glad to have finally gotten around to listening to it). One suspects it may never rank higher than flawed/laughable classical outings from McCartney or Sting or Billy Joel. (Call one a traditionalist but some formats are best left to professionals, right?) But okay fine let’s have it switch out for Metallica with SF Symphony because this scores just a bit lower on the bombast-o-meter.

Pretty solid and mostly enjoyable, quite professionalized indie rock from the late ‘80s, with an album cover that led one to think it was much more recent. Not sure what that says about fashion (late-80s look was timeless or has just come back around again). Displays just about all the major flaws and most attractive features of its era, which makes it just about replacement level basically, one supposes, even if bonus points for being Spanish.

Way atmospheric (maybe one means vibesy) and one fully enjoys (being a firm believer that slow is better than fast [and more difficult to play] and quiet should be the new loud everywhere it's not already). Then again, listening to this, one keeps looking up to see if the movie has started (a movie one will almsot certainly like). One likes the genre and rounding up because jazz needs friends and glad recommender reecommended but one suspects this will be rather easy picking for Algo and the Bots to cover.

Not bad, but not much to get excited about here.

Warm and swinging and a delight to hear all these years on. (one remembers well the hype upon release.) the name-dropping of philosophers and Borges are cool (if not automatically equating to a Borgesian artifact) and the jazz samples are first rate (Sonny Rollins, Blakey, Lonnie Liston Smith). Maybe sounds a touch dated and maybe just notch below De La Soul and A Tribe Called Quest. Still great, so thx recommender and could easily replace a dozen lesser rap records on list proper.

The short answer is that this is Dad rock at its finest. The long answer is … a question, actually: how does one properly rate records that have functioned as friends, or meant a lot on a personal basis, say providing emotional support during difficult periods and providing useful (and energizing) context (even uplift and inspiration) when faced with stress? One recognizes the limits of this band’s approach (and Granduciel’s micromanaging tendencies) but has always appreciated their substance, sincerity and thoughtfulness, not to mention their extreme listenability. Indeed, one has maintained a clear-eyed (and thus somewhat reserved) appreciation (or love) for The War on Drugs. One likes the explicit musical urgency and implicit spiritual exhaustion (finds it relatable, unfortunately). It’s the indie rock version of literary fiction, with its moral probing, thoroughgoing ambiguity, twilit atmospherics (nothing’s ever certain – fully happy or fully sad – in these songs). The unhurried expansiveness and breadth of the songs, fosters emotional depth and range: the vaguely optimistic opener to the melancholic “Pain” and “Knocked Down” to the contemplative grandeur of “Strangest Thing” to the brave-determined, carrying-on vibe and drive of “Holding On” and “Nothing to Find” to the lovely “Thinking of a Place” and gentle “Clean Living,” to the quiet, intimate, flickeringly hopeful closer. Bonus points for TWOD becoming a premier live band in the 2020s – ”Under the Pressure” [from another record] was maybe the best live performance of a single song one’s seen in decades, driving the rather basic principle of tension-release to seriously epic proportions. (Odd that, given AG’s being a pretty disinterested and not so dynamic showman.) Bottom line: this is a richly conceived, fully integrated, lyrically honest, emotionally resonant and well executed modern rock record. And sometimes the Grammies get it right. So, thanks recommender, whom, one can only assume, is a fellow sad dad. This definitely belongs on the list proper (in addition to the x-ed record). Switch out for the pretentious Arcade Fire, all other records from 2017 and basically every other non-National indie rock album (or those from adjacent categories) from the 2010s.

No surprise that some are annoyed by the uber-nasal vocals and the Monty Pythonesque jokes – fine, British eccentrics or absurdist humor (okay, humour) aren't everybody's thing. But there’s no excuse for closing one’s ears to what’s different and/or willingly refusing to suspend one's disbelief (or whatever the musical equivalent would be). There's no chance of liking a work if the work’s not given the chance. Some records require patience to reveal their (non-obvious) charms; a submission to the strange (or apparently strange) may be necessary to see an artist’s unique vision. This record is very much one of those, offering (to one's ears) extraordinary tenderness and a borderline desperation that’s quite moving. It's profound on multiple dimensions of love – its joyous coziness ("warm long heat of love" and "shiver if I should leave your side") and wondrousness ("two mirrors make infinity / in the mirror you and me / find out just what love could be" and "I thought I knew all about everything / but I'm in love with a beautiful girl"), as well as its terrors ("hey baby come on in and help yourself to my soul" and "now I'd shake if we should meet/and now I spend most of time in the bushes"). Re "Linctus House" specifically, a raw, marriage counseling sort of song: sharing such vulnerability could be (probably should be) interpreted as artistically brave (and not just wildly creative, as RH has again and again demonstrated himself to be): "should I say it with flowers or should I say it with nails?" and "if I was on my knees, you'd have a good view of my skull / and I happen to know you're carrying a chisel." The referential homage to "Ain't That a Shame" adds context, illustrating the artist's knowledge of the tradition in which he's participating and underscoring the link between rock and roll and love, especially the failed, "gone bad" variety. In that sense, it’s on par with Morrissey or Robert Smith or other "English whining wussies," as Beavis and Butthead famously called them. "Glass Hotel" seems a sibling to "Linctus House," lovely in its quite tentative optimism – "there's nothing in the future / there's nothing in the past / there's only this one moment / and you've got to make it last / you were laughing in a glass hotel." And there's plenty of humour alongside the heartbreak. "Napoloen ate lots of chicken, conquered half-Europe .... and died on the phone" – who else writes lines like that and can deliver with such credibility (however deadpan)? The humanity of "Queen Elvis" also bears mention – the alt version on the extended/bonus CD one had is very much worth seeking out (as with Beth Orton's "Central Reservation," the alt and original are of such comparable excellence that it's hard to choose between them). "Sweet Ghost of Light," also exempted from the standard streaming versions, was also significantly additive to Eye. The guitar playing is understated but sophisticated, with timely and tasteful licks perfectly complementing and amplifying the song's emotional impacts. Not unlike Tom Waits or Mark E. Smith or Jonathan Richman, one needs patience and the right conditions to connect; this record landed at a time of painful change and depression in one's life (young man's blues, basically) and one found it both bracing and helpful, especially in terms of helping one see the funny side (lightening up, basically) of life events and relationship conditions that seemed like tragedy. Thanks, recommender for reconnecting one with a truly distinct and personally meaningful record. Not going to suggest this belongs on the list proper (though one prefers it to several hundred at least); the list tries to cover too much ground and check too many boxes, genrewise; no, this belongs on a list of essential oddball classics for people with broad and eclectic tastes. And don't sleep on the Queen Elvis record, as sweet and pleasant a listen as this is stark and sad. One's tempted to round up to a full 5 for the singularity of vision (beyond the personal-historical resonances), but will restrain oneself for it's not perfect, actually, and does require a bit of effort on listener’s part. But Eye is as good a record as any to remind us that open ears have more fun by finding more to like; open ears always win in the end.

Another record that's a struggle to be objective about, given one's deep (and longstanding) personal attachment to this band, in which this record played an eseential facilitating role. One had largely given up on pop and rock music (incvesting much more time and attention on jazz and classical) but then a friend gave me AM and Beint There and one felt a renewed sense of hope. This isn't as good as BT (or Ghost or YHF and maybe not even Sky Blue Sky or Summerteeth) but Wilco has a very high floor, in that their worst records still have a great deal to offer. Here, it's a handful of first-rate tunes starting with "Must Be High" and "Box Full" and quality consisently throghout. WIll be interesting to see if any one recommends Trace for this completer's list – funny to think about the days when everyone was convinced Son Volt was going to be the better/more important act. One's deeply grateful for all that Tweedy's given over the years -- and he continues to make thoughtful, meaningful and fun records. The memoir is terrific, too. Thanks recommender for providing an excuse to listen to a record one doesn't cue up very often anymore but is still worthwhile.

Strong all the way round, if a little poppy, and a bit in the Pete Yorn vein (though probably a bit superior overall). The middle cuts are best – "Wild Long Lie," "Something Heavy," "Crumbling Empire" – which belie a certain maturity, which appeals. Not hard to hear the influence of Granduciel in the "widescreen" sound. And odd that we've reached when mainstream-y/normie approach plays as edgy (because everything else aims at such wild difference). Sax touches are additive and Geordie accent plays as distinctive. Thanks, recommender as this cat's new to one's ear. Deserving Mercury Prize winner.

Fun and frolicsome and Femmes-y, if a little one note. Seems as emo (with the warbly vocals) as it is punk and gives off definite smart-smarmy grad-student vibes (cf Vampire Weekend). “A Song Dedicated…” might be best cut, thanks to a little variety in the instrumentation. Kazoo, toy piano and glockenspiel are an underrated trio configuration, perhaps. The brevity’s a good thing but speed kills a few tracks. One can’t in good faith recommend for list proper but decent listen.

Girl can rock to such an extent that one feels Green Day and Cheap Trick should very watch their collective backs, and Blink 182 and the Bay City Rollers should basically give up. Indeed, this record shows just how far bubble gum rock can be taken, now that poptimism has made the world safe for its full-on professionalization/precision engineering, its hyper-soaring emotionality, the producer-led positioning, and commercial super-sizing. Indeed, this seems to aspire to something like the baroque, when one's more intrigued by the potential for indie rock balladeering, alt-folkification of her considerable talent, how she might have sexualized the singer-songwriter space, as suggested by the sweeter/slower cuts. Re those: one disagrees with reviewers who seem this as part of innate architecture of the record; they seem rather more like a cynical (if market-tested) totalizing strategy for market domination. Still, one's no poptimist but the songs are sneaky good ("pretty isn't pretty" and "vampire" are tops to one's ears). However, there are quibbles, are we sure OR knows what "Angel Dust" actually means? One would thank recommender but one was well acquainted to this reocrd via one's teenage daughter (and always felt like it coulda been worse, her taste, like K-pop worse). Thus one can say the lyrics, energy drink musicality, and mall/trampoline/skating rink vibes read authentic to the target demo (certainly "love is embarrassing"). Rounding down (only slightly) because of the Taylor-templating and because no one's juvenilia should be marketed to sell millions. List proper would certainly be improved if this replaced Britney Spears or (what the hell) Fiona Apple.

Interesting as cultural artifact, quite a bit less so musically. It’s a bit of a Frankenstein construction (recognizing that Ozzy would prefer it to be Dracula-esque). Two relatively well crafted, very sleek-shiny-poppy metal tunes open, clear bids for the mainstream, plus a few power ballads (one of which isn’t terrible), followed by rather more ambitious (though largely unsuccessful) attempts at something like profundity or original art (would the target audience appreciate the effort or even get the Crowley references?). It’s a weird record in a way. Obvious and onanistic — if occasionally impressive — ax work dominates the mix and the production is extra-cheesy with lots of ultimate 80s touches — vocal echoings, etiolated synths and keys, gongs. The new wavey interlude in “I Don’t Know” and the piano adagio movement in the proggy “Revelation” are outliers for seeming interesting. Like Rod Stewart, Ozzy has a one-of-a-kind voice but is often hard to take seriously (largely down to silly lyrics he doesn’t much seem to believe) and is given to much and shameless self-satirizing (which helped make him a reality TV star of course). Points off for beginning to make the world safe for hair metal. Points off or too many knuckleheads in one’s high-school and college years liked this record. Seems like this record as much as any is likely to have served as main inspiration for Spinal Tap. Should not replace Sabbath records on list proper, but one wouldn’t care if it replaced any of the other obnoxious metal.

Really cool and chill – so cool and chill, in fact, that one's certain one's not actually cool or chill enough to listen and appreciate fully. One prefers the instrumental cuts to the vocal ones, as some of the flows seem fairly pro forma. Bonus points for references to both American Pie and Flowers for Algernon (and in the same cut, no less!). But seriously, cool and chill, so thanks recommender (whom one assumes can only also be seriously cool and chill). Definitely could be on list proper, replacing any of the forgettable club-centric, EDM or big beat records.

One loved this record upon hearing the very first chords of “The Plan” – it just announces itself, doesn’t it, as a proud expression of indie rock truths and tropes and traditions. And then, a few songs in, there’s “Carry the Zero,” driving, uplifting, knowing, and endearingly weird lyrically – a viable candidate for the indie rock national anthem (easily in top 25 all-time pure indie rock tunes, in one’s view). “You Were Right” reads as both critique and homage to classic rock wisdom – it’s complicated, of course, and Martsch doesn’t seem to discount their value so much as wonder how far such pithiness can go. Overall, the record feels like a statement – unapologetically guitar-driven, shaded in its mood and tonalities, richly subtle in the layerings, determined and inspiring (if not quite fully triumphant) in attitude, not afraid to rock but doing so in distinctly non-obvious and non-doofy ways, triangulating uniquely between alt rock, indie and arena rock, and easily transcending grunge. There’s both melancholia and majesty in the minor key chimings, the ratcheting up to crescendos that feel earned and unforced, rather than gestural or contrived. The odd chords and offbeat tempos feel warmer, wittier and more rounded than, say, Pavement; lovingly handcrafted authentically self-possessed, rather than studiedly slacker or purposefully ramshackle or DIY as market positioning. The record drips believability – like this is direct expression of identity, without posturing or performative, meta- behaviors. They’re also notable among ‘90s acts for testing one’s patience by filling every second of CD capacity. They remind one of Teenage Fanclub in some ways, eminently likable and unique in both advancing and enriching the rock tradition – strong arguments in favor or justifiable rockism. (Funny to think that Casablancas’ ambition was once to have the Strokes to be like Built to Spill or Guided By Voices.) One prefers (just a little more than slightly) the elevated and expansive nature of this record (which beautifully balances and integrates hooks and tunes without losing a certain rough-edged essence and a very faint echo of high lonesome) to the also excellent (and somewhat more subdued and offbeat) Perfect From Now On. Ancient Melodies also strong. Any of those records could/should replace some of the dimmer grunge, the dumber alt-rock (RHCP) and the metal (obvs), which just from ‘99 metal includes Incubus, Slipknot, Metallica). Thanks, recommender, great choice. (Now let’s have someone add GBV.)

Great story. Mediocre music. One will skip the concert films, though consider alerting one's jam-band-loving friends.

One feels as tired listening to this as he sounds singing it at times. And no wonder re the exhaustion – all that genre-hopping must be wearying. One gets the bridge-between-glam-and-punk but there's funky-greasy-swampy/LittleFeat-y things going on here which just adds to the rather unlovely conclusion. Dudes like Harvey (and Alice Cooper) gave rock and roll a band name by scaring parents in the UK and elswehere. Thank God Robert Smith chose to take the influence into rather richer and more artful territory and too bad Nick Cave didn't. Can't muster enough energy to think through who the sensationalists here might replace on the list proper, but one's sure there must be someone.

One's all for honoring one's 14-year-old self and remembering the sincere and passionate attachments of those simpler times. But that doesn't mean it's a good idea to eat Hot Pockets and Pop Tarts for every meal. This is basicalaly Blink 182 with horns. This whole ska-punk renaissance seems about as significant as the macarena. So shouldn't all who indulged feel just a little embarrassed by it? One suspects that a significant proportion of LTJ fans doubled down by, say, choosing BNL as the band of their young adulthood (and thought themselves smarter and more mature in doing so)? No need to add to list proper but no problem to replace Prodigy and NIN and Marilyn Manson and any other humorless act that mighta benefitted from more trombones and skateboards in their lives.

A for effort and ambition – for seeing the cultural need for a skatepunk "Bohemian Rhapsody," basically, which separates them, one supposes, from the Warped Tour stalwarts (Rancid, Sublime) and makes them more than Less Than Jake. And there's no arguing with the content or the intent to do some consciousness-raising – one would say they're on the right side of history as far as consumerist cultural rot. The musical vessel – however Baroque and prog NOFX seeks to make punk's rudimentary sound palettes – makes the commentary hard to take seriously and the targets of the satire are a little obvious (to put it mildly). One can't say it's much improved by the orchestral version. One likes it better than American Idiot, maybe, if only because briefer, but it's not gonna replace Fear of a Black Planet or What's Goin On or The Times They Are a Changin' or Talking to the Taxman About Poetry or The Wall or Let England Shake or Freedom Suite or There’s No Place Like America Today or Winter in America in terms of all-time musical sociopolitical statements. Thus, can't say it belongs on list proper. And points off for inspiring Blink 182.

Replacement-level alt rock – and with all the trimmings, too, which is to say, brooding vibes and a self-importance that reads as unearned. One doesn’t hate it – certainly it’s less aggressive and/or bombastic and/or toxic-tending than many of the more loathsome amongst their genre brethren (Creed, Tool, Nickelback, Limp Durstkit) and anyway one also misses new wave, as it happens. There’s maybe a latent thoughtfulness and maybe a trace of heartfelt authenticity in the yearnings (see “apparition”) that one can buy into (though only sorta). It’s too long, of course, this being late ‘90s alt-rock. Maybe seems a worthy JUNO award winner (followed the Trag HIp’s Phantom Power, recently served up in this space) but one wouldn’t know from the competition. Looking at reviews, one thinks early Live was a bit better band. One will round up a bit because Canada! Though one doesn’t think tariffs on sales of Beautiful Midnight will fund the development of a new wing on the white house or the invasion of Nova Scotia, many of us south of the border are feeling kind of Canadian now. The list proper was a little light (likably so) on alt-rock (even a hater would notice) so this could be a solid addition likely palatable to the (understandably) skeptical editors, and all to the better if replacing Limp Bizkit or Linkin Park. And thanks recommender one enjoyed well enough and didn’t know the band at all so that’s a net-plus.

This record – far from terrible, but only intermittently interesting – begs lots of questions. Like, are OSTs the last refuge of electronic artists? And would this recommendation be more about the motion picture than the music? And what up with the Disney logo so front and center? (Not the most rock-and-roll gesture.) And this is not exactly Run Lola Run, now is it? (For that's what one was expecting.) Because only the final credits music seem verifiably DP and because there’s nary a hook or an earworm to be found, are we sure DP didn’t just license their brand here? Could it have been some other dudes in masks? After all, what doesn’t sound like warmed-over John Williams sounds like John Williams run through a Daft Punk AI tool. Admittedly, some other bits are more like Tangerine Dream (or Tangerine Dream run through a Max Richter AI tool). Musically, the overall effect is cold and clinical (presumably that’s by design). Also full marks if the creative brief was to generate some slightly cheesy (if eerie) 80s synth vibes. The bottom line is that, like lots (maybe all) OSTs, many cuts are too short and transitional to judge on the merits – the musical equivalent of short attention span theater. Even the good bits that stand on their own (“Adagio for Tron,” say) seem to serve some inscrutable narrative purpose rather than following their own internal musical logic. On the plus side, there’s a good bit that might suit meditation (“Nocturne,” say). Overall the album feels non-essential to the list proper and could/would be no more than a nice-to-have or serendipitous stumble-upon sort of listen rather than one for a lifetime or a deathbed.