Idk man my feet are itchy

No this was not sensational nor did it particularly stick out. But that doesn't mean I was bored and that I didn't come away without any highlights. I explicitly refer to 'The Prettiest Star' and 'Lady Grinning Soul'. 3.5, I liked it a lot, but at least I possess a greater confidence in my ratings for Bowie's better albums. God the anticipation for 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' is just so palpable.

Bruh I keep bamboozling myself because all these albums start out alright but fall off so hard and then I'm second guessing myself. This is can't be put on the same pedestal with some of the other 3s I've been giving. I like R.E.M. a lot though. Give them a year or two, they’ll come around.

Bro I went through an identity crisis with this album, because I LOVED it. There was not a single moment when I was bored or waiting for it to end. "She's Electric" was my stand out and the comment section of my "Wonderwall" tweet was popping. I was very very close to giving it a 5 because I really had no issues with it. But unlike the singular 5 I've given, or the 5s I plan to give, it didn't quite hit that sweet spot in my brain. I really did love it though. I will keep returning.

Bruh what the H I liked this a lot. This is my shiitake mushrooms. My cup of earl grey with a splash of OJ. The crack to my cocaine. Solid Air was so sweet and Don't Want To Know and The Man In The Station were just so so pleasant. I can't give this a concrete 4 in good conscious but this album truly exceeded my expectations.

I was feeling critical so I chose this to make myself feel important after I moved my cursor over the second star and hit "vote" with the confidence of a male entering a bar wearing khakis and a flannel over a gray hoodie. But I liked it more than anticipated. I was toggling between a 2 or 3, because it started out promising, but lost it towards the end. I would give it a 2.5, but I can't quite bring myself to give it a 3, so we're back where we started. Moves made: 2 Girls talked to: -5 "Ooh she's bad": 43

This would be a 4 had I not already known Arctic Monkeys and really liked their other albums. It was well done and, on par with everyone's sentiments, Mardy Bum is a stand out. I'll probably come back, but it didn't stand out.

I didn't love it nor did I consider any songs worth coming back to, but I'm not going to deny that this was a well-produced album. God the instrumentals were fantastic, so I was pleased that for once it was the forefront.

Yeah Piano Joint has absolutely zero business existing like that

This man has absolutely zero game

This is good music. I found it enjoyable and easy to listen to. Would I rush back? Probably not, but I expect to hear Mannish Boy when I burst through the saloon doors in South Dakota’s hottest club, Shooting Star.

Good beats, non-exploitative lyrics, well-regarded but just obscure enough. Bring back ‘90s hip-hop because this was so worth the hype.

I got through it, it wasn’t bad. But I wouldn’t put it above a meal of salt and pepper chicken, boiled potatoes, and slightly over cooked broccoli, completed with a small bowl of wet vanilla pudding. It wasn’t anything worth coming back to.

There’s a reason they call him Big Poppa, because daddy delivers every time. I can’t give this a 5, but it feels wrong putting this and Step In the Arena on the same pedestal, because it’s evident they are not. I’ll just repent my sins when I go to hell.

I had to listen to this album twice because I couldn't decide if it was a 1 or 2. I didn't initially hate it, which is why I wanted to give it a 2, but it fell off towards the end, and the second time through was so so painful. Wake Up and onwards were straight cheeks, but Rock Box surprised me, I wasn't expecting rock and old-school hip hop to work like that. Regardless, I'd feel less remorse underrating than overrating, so I'm sorry RUN DMC, but I'm a self-interested b*tch.

It gave the Beatles, which surprised me considering the only music I’ve listened from The Who prior to this was you-know-what. It was solid, but nothing more than that. I will, however, be consistently returning to I Don’t Mind; that’s a pretty song.

I have an aversion towards Christmas music, but I appreciate the tradition and nostalgia of the Ronettes. God do I love celebrating capitalism.

Should I ever return to Amsterdam and do shrooms with the same mfs in the same shitty hostel at the same cluttered desk of crushed Heineken cans, a half drunken espresso, and a disassembled “spliff” (there was zero green, only tobacco), “Within You Without You” will most certainly be blaring on full blast from a busted laptop. Otherwise, this would be a 3 for me, but it is Sgt. Pepper’s and “A Day in the Life” is truly a masterpiece.

I don’t think I can sufficiently express my dissatisfaction with how dull and pathetic those 41 minutes and 53 seconds felt. Perhaps I’m just going through it at the moment, but this nearly made me call my therapist. I don’t even believe in therapy.

I’ve established that punk is not my cup of tea, but this brew did not give give off the soggy stench of hot diaper. I got whiffs of R.E.M., which I believe did the trick for me. Guitarist gets the Secret Sauce Award, he was really putting in the work, especially in “No, Your Product”. I’m feeling generous tonight, but if this generator gives another punk album, I might just have to call it quits.

Cute, but it felt forced, so no. Glass Museum stood out, but like this album, nothing I would come back to. Maybe to help me sleep?

This would be the music played at a trendy, millennial gastropub in the South End called the Gallows. You can’t hear the lyrics, but it’s Thursday night, the lights are low, and your exorbitant Negroni tastes sophisticated because you don’t know any better, so it’s a damn good beat. Anytime now, the man perched next to you at the bar will emulate passion of William Wordsworth’s acute depiction of the human condition in The Prelude and how sobering an effect the recent profile of Chimamanda Ngozi Adichie in the New Yorker will have on the next generation. Oh how I love taking comfort in the annals of American expressionism. 3.5/5

I did not expect this from the Bee Gees. In sharp contrast to Stayin' Alive and More Than A Woman, it was wistful, melancholy, and pretty, nearly every song hitting that spot and scratching that itch simultaneously. A comforting, familiar pain, you know? I can't come up with anything clever or witty at the moment, I just want to know the next album because untitled2 so shamelessly assumed I would enjoy it. Let's hope they're correct.

Untitled2 can sml by baiting me like that. I could not tell if he was being genuine or if he thought pointing out that I was listening to ANOTHER punk album sung by two lesbians would make me teehee like a hyena (I did not). For reference, I historically do not enjoy punk and untitled2 has falsely accused me on numerous occasions of dressing like a lesbian. Turns out he were a day behind and was actually referring to Trafalgar, which was sweet because I did really like that album. I have nothing to say about this one though, since all I heard was ear splitting wailing that really did not feel fervent or angsty, just pathetic. God that hurt to admit, because untitled2 is a misogynist and this just gives him more fuel to add to the fire.

Oh I liked this. I liked this a lot. If there's anything I'm a sucker for, it's 10+ min songs that kind of keep dragging, but when done well, feel like a soundtrack to your life. "21st Century Schizoid Man" is going on my 'me' playlist, because no doubt will I shamelessly bulldoze anyone who attempts to cross paths me when it comes on.

All I can think of when listen to Ms. Lauryn Hill is Ayva Grace Holden aka Ms. Brooklyn. Daring, brazen, and influential, she holds you in trance and you aren't quite sure if you even want to be set free. You may not know who she is, but you wish you did. She may not know who you are, but you wish she did. She, she, she— just kiss me already!

I wish I enjoyed this more. It felt like background music that I was just waiting to get through so I could listen to something better. I really don't know what else to say.

This sounds like something my dad would listen to, I didn't dislike it. I felt like I was on vacation in the DR but that something was off. Perhaps it was the rice and beans I ate earlier or maybe I took the tequila too fast. It could also be the restlessness in the air that often accompanies the threat of revolution. This could be my chance to change the world: I single-handedly dismantle Dominican democracy and install the Taco Bell Chihuahua as the new leader. Regardless, it served its purpose as background music exceedingly well, but I won't be coming back anytime soon. Or maybe ever.

I was expecting more because "Hello? It's Me" from Something / Anything? is a great song, but they can't be considered on par with each other. I actually don't think this experimentation campaign was poorly executed. There were some tracks that tickled my toes, especially towards the end, but it wasn't there for me collectively.

Idk man my feet are itchy

I’m not going to act like I’m better by saying I liked this a lot. I actually listened to and really enjoyed Master of Reality because “Solitude” is a fantastic song, but this didn’t have as much Personality (notice the capital “p”). But this is good music, I’m going to at least give myself that credibility.

I enjoyed my morning cup of joe at the breakfast table while listening to Sex Machine, and it was so so pleasant. But under that pretty, idealistic scene was the presence of something dark and sinister. Bro was fighting for his LIFE there. In the most condescending way possible, I wanted to orgasm for him so that he would stop, because that shit was exhausting me as well. Once again, I felt little attachment to this. Maybe it's because I'm selective, which I don't think is a bad trait, but I'm beginning to question if I'm as musically woke as I think I am.

Yo wait I liked this a lot. Equivalent with the general consensus, Child in Time is fantastic, and it’s probably why I’m giving this four stars because I absolutely will be coming back to it. I’m also not going to contend the possibility that I’ll come back to this album as a whole, because the instrumentals are amazingly cohesive and precise. I don’t know, perhaps the pasta I ate for dinner put me in an insufferably positive state of mind. Don’t kill it for me.

I’m going to cave and give this a 3. Folk-rock is not my genre, but I think this was well done and is significantly better and thoughtful than some of the aggressively mediocre trash I’ve given a 2. Tam Lin is noteworthy and Crazy Man Michael is beautiful, I’ll be coming back to them. Also, based on the photo provided on Spotify, I want to grab a pint with these guys, they seem like an absolute riot. I would also like to point out I was listening to this while prepping and roasting potatoes. Do what you will with that.

I can see why Neil Young's decision to take his entire discography off Spotify stirred such a commotion, because I'm really upset I can't add "My My, Hey Hey" to my playlists. I always knew YouTube Premium was the way to go. But my guy Neil is so right, it's better to burn out than fade away, and he certainly embodied that. I liked this a lot more than anticipated; there's always that one part of the chorus in every song that scratches an itch just right. He's a great songwriter and the acoustics are fantastic, I'm looking forward to more Neil Young (and maybe some Joni Mitchell too? Both Sides Now? What the heck?)

I was so set to initially give this a 2 because holy Jesus I was fighting for my life there at the start. But thank goodness, because the turning point was at Disarm when those strings and those bells slapped me dumb across the face, which is what characterized Mellon Collie and the Infinite Sadness so distinguishably for me (I'm fully aware it came after Siamese Dream, my point still stands regardless). And I'm happy they began hitting on every emotion, because Soma and Spaceboy were fantastically modest yet intense simultaneously, and Greek U.S.A just went hard. Based only on the latter 2/3 of the album, this would be at least a 4, no question. But I have to go down one because they blew it in the beginning.

Oh baby did this send shivers down my spine. Dirty Work is iconic, Kings and Turn That Heartbeat Over Again are hidden gems, and Do It Again is in my top 50. This was just good. I needed this.

Not my genre and I genuinely believe I would have rested peacefully in my grave without it. There was zero nostalgia nor any songs I’m going to run back. No shade though, I didn’t think it was bad and she does have a great voice.

Great voices and the music isn't bad, but it lacks character. Also women were not made to love that is so misogynistic and anti-based. If either of them asked me on a date, I would vehemently reject them and throw cantelope chunks at their balls.

Some real gems here. I’m talking about (You Make Me Feel Like) A Natural Woman and Ain’t No Way. The latter even brought it up an entire star. I love women. Hehe :)

I listened to this for the third time while eating sh*tty beef noodle soup alone in the dining hall. They also had the Food Network on the big screen. Kind of a vibe.

I really did not need to listen to this album before I am sedated, tossed in the back of a white van, and whisked to an undisclosed location so that my kidnapper can perform predatory actions on my feet in peace. That's when I would just call it quits. What I'm trying to say: This album has no reason being here and I was doing just fine without it. Thank you for coming to my TED talk.

I would call this vanilla: reliable, not bad at all, yet fails to incite any form of zeal in my already malnourished and hollow bowels. But I like vanilla, so I'm going to allegorize 'Fred Neil' to chocolate instead, vanilla's more popular counterpart. Bit counterintuitive, but life's a little boring when void of petty disarray, don't ya think?

I asked someone to give me albums to listen to some time ago and every single one they recommended was fantastic, except for this one. I actually put this one off for a few months for some arbitrary reason, and instead of being transcended into another dimension and seeing Jah, I found it tasteless and boring. Even 'Into the Mystic' didn't raise the hairs under my chinny-chin-chin. I don't know music like Quinn does, so maybe the matter of the fact is that I'm just an uncultured swine.

Going to be real with y'all, I put this on as background music and it served its purpose well. Yeah I know he and this album are iconic, and Rock with You is a great song, but like...it was alright. Nothing stuck out to me, even though it was a good album overall. Also, mouth noises make me very uncomfortable, which I feel like he's really good at, so his intense panting and gasping in 'Workin' Day and Night' sparked a ferocity in me I didn't know existed. You better be thanking Jesus in your prayers tonight.

I listened to this album twice without realizing. Not because it was good, but because it was exceedingly meh yet not horrendous enough to take note of it. I appreciate instrumental music, it offers the opportunity to actually focus on the sound rather than to merely relegate them as backdrop to vocals and lyrics. But it has to be done exceptionally well and this was not exceptional.

Diet Enya

You know those videos of some bimbo with a mic stopping random people to ask what song they're listening to? What if that happened to me today as I was walking to class, RBF and purposeful lesbian-walk fully activated, and in the most deadpan tone possible, I responded with, "Rock Lobster by the B-52s". God, I can only imagine the number of OHill furries that would come flocking to me. This album reminds me of a low point in my life. I'm talking about when I listened to Sleater-Kinney. This would be a 1, but I'd like to leave The B-52s under the false impression that their music was revolutionary when it really wasn't. I do have a tendency to lead people on.

Sorry Mr. Burns, I know 'The Passenger' is your ultimate villain song, but all I can think about is driving through endless wheat fields in bumf*ck Iowa. It's a really good cross-country roadtrip song, but I've done that once before and I don't really see the need to do it again, because that sh*t kind of suckeddd. I'm sad because I expected more from this album, but I was left disliking it more than I did at the start. How does that even happen.

Not my sound, was going to give it a 2, but 'Ballad of a Thin Man' convinced me otherwise, because that song has been on repeat all afternoon. I appreciated this overall though, I wouldn’t put it past myself to come back to Mr. Bob soon.

I didn't dislike it, but I didn't like it very much either. Thank goodness for short albums like these, I don't wish to get another 'Made in Japan' anytime soon.

No this was not sensational nor did it particularly stick out. But that doesn't mean I was bored and that I didn't come away without any highlights. I explicitly refer to 'The Prettiest Star' and 'Lady Grinning Soul'. 3.5, I liked it a lot, but at least I possess a greater confidence in my ratings for Bowie's better albums. God the anticipation for 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' is just so palpable.

YEAAAAAA BOIIIIII I LOVE FRANK ZAPPA. This man is a walking-talking-blistering-blathering poet. And he knows it. And he OWNS it. I genuinely enjoyed this top to bottom, I'm not even trying to be silly and goofy, because those riffs and solos went so hard. I only wish there were more lyrics, because I know this man spits bars just as well as he strikes chords. 'Apostrophe(')' is proof, because 'Uncle Remus' and 'Stink-Foot' have absolutely ZERO business coexisting like that. This absolutely would be a 4, but I'm going to have to go down one because I know it would be that much better with lyrics. On a side note, everyone go listen to 'Billy the Mountain' right now if you are fiending for 20 minutes of pure bliss. That song basically encapsulates my freshman year: a beautiful disaster.

Mid. I forgot I was listening to it.

When I listened to Ten for the first time about a year ago, I was furious. Because after years of listening to my father blather about witnessing Pearl Jam rehearse in a dingy Seattle warehouse before seeing them perform that night in the "best concert I've ever been to", I expected my socks to be violently yanked off my feet and yossed into a different dimension. But naur. The very second "Release" ended, I said out loud in the Lower Level of W.E.B Du Bois library, "THIS? This is what's got everyone's knickers in a knot?" And thus marked the beginning of my descent into an anti-Pearl Jam ethos, because holy moly it was so boring and so unextraordinary. I truly couldn't come up with a reason as to how they set themselves apart from the rest of the emo-grunge-punk garbage that we all know I love so much. A year later, after taking some time to myself to really explore and attune my ear to substantial music, my sentiments have only barely budged. I really wanted to give this a 1 for my initial sheer disappointment, but it's not atrocious enough to relegate that from me. I still don't get it though.

Listened to this on the toilet. 2pm sh*t went so hard. At the same time, however, Nevermind was never an album I was attached or particularly impressed by. I can listen to it and enjoy it, but as an active member of APA (Anti-Penis Association), I will not be plastering a 24”x36” poster of that baby and his schlong on my pretty green walls. “Come as You Are” and “Something in the Way”. I know, I’m a basic b*tch.

I had to listen to this three times to solidify my rating. I was never into the Chili Peppers, but this exceeded my expectations, which was admittedly not very high, however, that's beside the point. I was this close to giving it a 4, but it really didn't impress me that much and it kind of fell off towards the end. And the only songs I'll probably come back to are 'Scar Tissue' and 'Otherside', so the lack of nuance there should speak for itself.

I thought I would hate this but I didn't. So what does that say about society.

This gave me zero utility

There were some really beautiful and well-produced tracks here ('In A Moment of Clarity' and 'The Big Bamboozle') and then there were others that were incomprehensibly horrid and put me in a depressive episode. I'm torn, because this wasn't a good album. Their attempt to be creatively groundbreaking and attune to the dichotomy of the human condition felt forced at times and incohesive. But there were certainly highlights I would like to return to. Also, brownie points for album title itself. Sounds like something I have said and I appreciate that.

Why do artists think it's artistic / creative to include dick-sucking tracks on an album? I can not believe I have to sit through that, because that sh*t is just so uncalled for and so unnecessary. I was enjoying this until that came on, it really pissed me off.

I mean I didn't hate it. I just don't see a reason to come back.

This served it's role as background noise very well. No shade, just not my genre. 'Deeez Nuuuts' carried, and it's not even good.

I know and love 'Fast Car', so I was expecting the rest of the album to also impress me. It didn't, it just kind of exists unremarkably and without sparking much controversy. I didn't dislike it, but exceedingly average results is failure in my book.

Besides their two biggest hits, nothing else mattered here. Perhaps heavy metal doesn't really fit the vibe I'm going for as I write a history essay while wearing low-rise jeans and a paisley head-scarf. It was a lot of nothing really.

I forgot I experienced this album. Based on the opening track, I thought, "F this sh*t bro why do I still do this to myself." As much as I wanted to give this a 1, I wasn't cringing at every moment. It basically means I affirm that banging on undisclosed, non-conventional-instrumental objects and shrieking fervently is considered valid music. That's pretty pathetic.

I genuinely wanted to switch it up as soon as I began listening, but couldn’t because I really didn’t feel a need to. I liked it a lot actually! I don’t know for what reason I’d return, this isn’t really my genre, but I feel like I will. ‘Pull Together’ brought this up an entire star.

You know what, this is an interesting concept and I think it was executed relatively well. It was originally written as a semi-autobiographical screenplay on growing up in the South, covering race politics and most importantly, Lynyrd Skynyrd. Personally, I love Lynyrd Skynyrd and the guitar part of "Free Bird" so I have zero complaints there, and the music itself was solid as well. I would totally return to listen more closely to the whole shebang, because I think they are addressing some serious sh*t.

Based on 'I Wanna Be Adored' and 'Don't Stop', I expected to like this a lot more than I actually did. I think it started out strong, but it really fell off towards the end. Shame, because I was really excited for this to my new album.

I actually really wanted to be Mick Jagger this past Halloween because my hair worked out quite conveniently and I do love the Stones. His voice kind of reminds me Neil Young's, it lowkey kind of sucks, but his songs make up for it. This one's a keeper; 'Sway' and 'Sister Morphine' were my highlights. And by the way, Mick Jagger is not Kesha's dad. Do not let untitled2 fool you with such damaging misinformation.

Sick album cover though

'Paper Planes' is iconic and most of these are stand-alone bangers, but listening to one after the other is a sensory overload. I think it's good and I appreciate that it's included, because this type of music doesn't frequent the list, but I didn't love this album as an entity.

This was all over the place and relatively unremarkable, but it was solid and I enjoyed it for what is was. It also put me in my feels because Gymnopedie No. 1 is on the Barnard playlist I made my senior year of high school so that I could envision myself walking through Morningside Heights to my Women in Revolutions class, headscarf in hair and matcha latte in hand, as I listen to the Velvet Underground through wired headphones. Oh what could have been.

I love Led Zeppelin I love Led Zeppelin I freaking love them. There is at least one song on every album that never fails to scratch an itch in my earballs just right ('Babe I'm Gonna Leave You'). I can't in good conscious give this a 5 while informed that Led Zeppelin IV exists and still requires my validation. But this is a very high four, no doubt I will be second guessing myself.

I originally refrained from rating this because I wasn't sure if I was ready to give my second 5 star, or if this even qualified as a 5 star album. I don't know how many I've listened to this album, but it never ceases to impress me each time. "Five Years" is the best song, because what a way to begin an album. And then "Moonage Daydream", "Starman", "It Ain't Easy", and "Rock 'n' Roll Suicide". It just keeps going.

I listened to this album over the summer expecting to love it because 'Running Up That Hill' is one of my favorite songs of all time. But oh goodness. Her voice is kind of cringy, the songs almost have too much character, and it's just so...80s. It's all over the place and weird. "Jig of Life" was so uncalled for. I relistened to it and I'm at the same conclusion. Settling in the middle because it's not that bad and 'Running Up That Hill' is a 6 star track, but this would be a two otherwise. Also now I have to prepare for a slew of shit albums since we got like 3 hits in a row. What a sh*t show.

One word to describe this album and that is its name. I wish I could give this negative stars.

Good study music and not too bland. "Some Riot" stood, but that's about it.

Was going to give a 2 but "Of Moons, Birds & Monsters" is better than "Siberian Breaks" , and that's an incredible song.

At least it was only 30 mins and I could treat it as background music without feeling guilty.

This was really lame

Damn shame because I would've given this a 2 had it been shortened by an hour. But I listened to this whole shebang top to bottom, so I deserve to give this a 1.

Each song on this album was a standalone banger-I had zero issue with and wouldn't skip any of them. However, there needs to be distinction within albums, and everything here kind of became conflated with each other. To be honest, even if some of the songs sounded differently, I still don't think I would've given it 5. I did really like "Barely Legal" and "Take It Or Leave It".

Easiest 5 stars I will ever give. I don't think there's anything else that needs to be said.

This and Abbey Road are probably my most nostalgic albums. My parents' had their first dance to "Just the Way You Are" and requested it at every restaurant we went to on their anniversary. I know "Movin' Out" by heart, and you can bet your tight ass that I give one hell of a karaoke performance to it. And "She's Always a Woman" is just beautiful. Sentimentality aside, Billy Joel is a great musician with an even better voice. There are so many bangers here and they hit in their own way. It's a really good album.

I say a lot of things here that exaggerate my actual emotions to either invoke a reaction or justify a poor review towards a mediocre album, but I don't think I've ever felt so much discomfort and disgust while listening to music. There was so much fluid and non-solid sensation violating my earballs that I literally dry-heaved during breakfast. For reference, vocal fry is my biggest pet peeve of all time, so while some might appreciate Waits' guttural, gravelly, gross voice, it makes me want to throw myself off the top floor of the library. Just refer to the album, he looks like a wet-mouthed, stinky iPad baby who's going to give me thirty different types of diseases when he opens his mouth. Jesus I'm still shuddering.

Epitome of a 3: I didn’t dislike anything, but there wasn’t anything special to it either. On a side note, I think it would be so fun and chaotic if we could reply to reviews. I think all of us have additional reactions and thoughts on our fellow collaborators’ reviews that we’d like to get off our chest. This is mostly so I can defend myself against Adam for such damning accusations. Regardless, a little harmless discourse never hurt anyone.

Instrumentals were fine, but vocals were fairly reminiscent of Ian Drury, and that's just not ok.

I listened to this and enjoyed it for what it was, and I'm going to move forward with my life unaffected. No shade though. I actually knew the studio version of "In Memory of Elizabeth Reed". Why it's in my library I have no idea. Just another aspect of my life that I really can't nor feel the need to explain.

My goofy 10 year old ahh wanted to play the violin when we were choosing which instruments to play in 6th grade because of "Eleanor Rigby". I actually went into this album with no clue of what I wanted to give. I loved it as a wee lass, but re-listening to it with evolved ears convinced me otherwise. "Here, There and Everywhere" is my new favorite and "I'm Only Sleeping" is really freaking annoying and should be exterminated from the face of the Earth. This the first time I really want to give half a star. I kind of feel bad. I ended up playing the cello by the way.

Lyrics are shit, vocals make me visibly cringe, and was just really weird. It really does sound like a bunch of emo, misfit dudes from Natick got together in someone's garage, made this album, then nodded at each other afterwards and said "yeah this is really good". It's a 2, but a high one, because it hit at certain times. Does that mean anything though?

Things I needed today: this album, a double dosage of Adderall, and Zoloft. (Spoilers: I did not get 2/3 of those things.)

Reconfirmed my faith in this project because I found a new go-to. "Dirty Boots" makes my head bob and "Disappearer" is insane. The star down is for the industrial noise which I simply don't appreciate anywhere except for the Caretaker's "Everywhere at the End of Time".

Sooo woman

Wtf this was actually really good. I'll be taking away "Wheels of Confusion / The Straightener" and "Changes". I also want to say something clever regarding "Changes" being the perfect drive-into-the-sunset-with-the-windows-down moment at the end of an A24 film (there's a shot of the main protagonist on the side mirror gazing introspectively out the window with a soft smirk plastered across their vanilla face), but I don't have the energy to search for the right adjectives or come up with a backstory at the moment.

I avoided Kanye my entire life due to his lackluster reputation as a decent member of society, but I started listening to him last year when I accidentally listened to 808s & Heartbreak. When I say I accidentally listened to a whole ass album, I played "Welcome to Heartbreak" with the intention of only listening to "Welcome to Heartbreak". And then "Heartless" came on, then "Amazing", then "Love Lockdown", and before I knew it, I had gone through the whole album. The worst part was that I really liked it. So yes, Kanye is a piece of shit and him and his fan base infuriate me. But he makes damn good music. I thought "My Beautiful Dark Twisted Fantasy" was overrated the first time I listened back in September. I didn't think all the hits were even that good. But I've been listening to "So Appalled" all year, and that has yet to get old. Upon the most recent listen, however, I appreciated it a lot more. I can't articulate why though. More importantly, I can't believe he sampled King Crimson in "POWER". That's crazy that I recognized "21st Century Schizoid Man" (bless this generator for introducing me to King Crimson), but it also makes so much sense.

75% of this album’s vocals and instrumentals sounded like a once awkward, prepubescent teen who developed fresh confidence after growing 6 inches over the summer, yet failed to impress the popular girl upon arriving back at school because he’s a late bloomer and his voice is still playing catch-up. What I’m trying to say is this album had some real highs—“Beetlebum” is fantastic and “Strange News from Another Star” more than pleasantly surprised me. But sorry luv, I need the complete package deal if you really want to impress me, because even your angst and newfound defiance towards authority won’t cut it.

This confirmed the arbitrary nature of the list because why this one instead of Born to Die or Norman Fucking Rockwell!? Say what you want about them, but if you're going to include a Lana album, at least choose something that was actually influential. This wasn't even good so now I'm confused and upset.