As soon as I hit play on Bjork’s Debut album, I fell in love with “Human Behaviour,” a hit-song in which her adorable, yet mighty voice hovers flawlessly over a hypnotic, war-like rhythm. The way she paints walls of gibberish vocals throughout the track is also vaguely reminiscent of Elizabeth Fraser’s (Cocteau Twins) signature singing style. The rest of the album is mostly dance/techno music that I found to be average aside from “Venus as a Boy” and “Like Someone in Love,” which we’re more memorable, having more gentle, verdant compositions. I also noticed that the stringed instrument at 0:50 of “Venus as a Boy” has some Indian influence in the way it is played, which may be the reason for my attraction to the song. Dance is one of my least favorite art forms. However, dance music–especially songs similar to the ones found on this album–I do not mind every now and then. I went into this album not knowing what to expect and came out wanting to be friends with Bjork.

A breathtaking soundtrack. An obvious 70s Italian and French soul/funk influence exists throughout the album. The combination of everything from the sound palette to the chord progressions and mixing of the drums will make you do a double take at the release date of the album. The opening track, Playground Love, as well as Highschool Lover both sound like something out of Eternal Sunshine of the Spotless Mind; they have a very romantic, cozy, and melancholic sound–an undefeatable combination. The production on these two tracks manages to sound indie and mainstream at the same time.

As soon as I hit play on Bjork’s Debut album, I fell in love with “Human Behaviour,” a hit-song in which her adorable, yet mighty voice hovers flawlessly over a hypnotic, war-like rhythm. The way she paints walls of gibberish vocals throughout the track is also vaguely reminiscent of Elizabeth Fraser’s (Cocteau Twins) signature singing style. The rest of the album is mostly dance/techno music that I found to be average aside from “Venus as a Boy” and “Like Someone in Love,” which we’re more memorable, having more gentle, verdant compositions. I also noticed that the stringed instrument at 0:50 of “Venus as a Boy” has some Indian influence in the way it is played, which may be the reason for my attraction to the song. Dance is one of my least favorite art forms. However, dance music–especially songs similar to the ones found on this album–I do not mind every now and then. I went into this album not knowing what to expect and came out wanting to be friends with Bjork.

Essential Hendrix. The tones and textures are as crucial as the musical content. Also, classic rock always sounds great after not hearing it for a while.

This album is mysterious, rebellious, and ambiguous enough to be considered avant-garde/experimental rap. It sounds like something the goth kids from South Park would probably obsess over. I will always be open to revisiting Tricky's music in the future, but for the time being, I am not in the mood for British trip-hop.

Packaged with songs reminiscent of 1970s Vietnam War-era rock 'n roll, this album–an archetypal byproduct of the British Invasion–presents music that sounds like a mediocre imitation of more noteworthy artists from its decade. Perhaps, I am being ignorant and this is actually the album that inspired the more superior work of subsequent musicians, but even then, Electric Warrior is not so great. My only favorite tune off of this album is \"Cosmic Dancer.\" I acknowledge that if I were a baby boomer, I would most likely rank this album as one of the greatest in the history of rock music, but I have simply been exposed to this type of music too much in the past.

Living Colour’s “Vivid” offers a unique blend of soulful, Stevie Wonder-like vocals mixed with funk, metal, and hard rock music. I wasn’t really in the mood for this album, but I respect the hell out of it. Plus, I’m not sure if I’ve ever heard of an African-American Metal or hard rock band–which is ironic considering Black people invented the rock genre. The diversity that Living Colour brought to the rock scene when it was saturated by commercial White bands in the 80s might have been the secret to their success.

I had to turn the bass up on my equalizer for this revolutionary album. The rock and 80s hip-hop fusion is immediately recognizable as Run-DMC. “Peter Piper” makes me feel like playing basketball at the park and is my favorite cut off of this album.

Yes is one of those prog-rock bands that you can get away listening to with friends in the car. They're baroque and weird, but they have little pop-rock moments. Roundabout is the most famous song off of Fragile, but it's not my most favorite. Heart of the Sunrise, however, feels like the climax and best part of the album. Overall, Yes is really an acquired taste that I don't expect everyone to immediately enjoy.

A breathtaking soundtrack. An obvious 70s Italian and French soul/funk influence exists throughout the album. The combination of everything from the sound palette to the chord progressions and mixing of the drums will make you do a double take at the release date of the album. The opening track, Playground Love, as well as Highschool Lover both sound like something out of Eternal Sunshine of the Spotless Mind; they have a very romantic, cozy, and melancholic sound–an undefeatable combination. The production on these two tracks manages to sound indie and mainstream at the same time.

This album is TERRIBLE!!! I personally enjoy listening to most forms of jazz, but free jazz is where I draw the line. The only interesting thing about this album is the cover art.

There isn't a single moment on this album that I didn't like. Lush acoustic guitars, droning organs, booming tom drums, and a soft dusty voice all contribute to the resulting warm indie-folk sound. The chords and melodies are drenched in typical indie melancholy, but the album's supreme charm helps to disguise its cliches. I love it.

Not my favorite or go-to Beatles album. There are some decent songs, but not enough to make it worthwhile. Thankfully not a single song goes past the 3-minute mark.

I'm not sure if there is a definite category for this album; it spends brief moments in many different genres: experimental, pop, indie rock, and even a little shoegaze (Everybody's Stalking). Whatever this album is, I wouldn't feel regretful if I had gone my entire life not having heard it. Don't get me wrong, though. It is decent music. The album often has a lively, acoustic sound that probably sounds a lot better in person than it does on record.

Iconic and fun music, but not my go-to.

I heard maybe 2 decent songs that I wouldn’t mind listening to again: Life’s Greatest Fool and True One. Otherwise, the album is very unremarkable.

After listening to just the first track, one can easily see why this is one of the greatest albums of all time. While I cannot understand the lyrics, the instruments all complement each other very well, the mixing is unlike anything I’ve heard, and the musical content is outstanding. It is a very layered album that I can’t wait to listen to many more times in the future. Also, I cannot believe this came out in 1997! The mix and master alone can easily pass as being from the 2010s.