What a pleasant surpise this is! Haben never heard of Michael Kiwanuka before I had no idea what to expect. Turns out what was waiting for me is a progressive-soul record with a wide array of influences. All songs very smoothly lead into the next one making the whole album feel like more than its parts. The whole thing takes you on such an enjoyable journey that you don't really feel the time pass. Will absolutely enter my rotation.

Songs are either too meandering or overplayed to me or both. It oftentimes seems like I'm listening in on the band being in the process of creating new songs and testing sounds, but there is just no structure to entire or part of most songs. Ozzy's wailing has always been devicive but here I could do without it. I'd much rather listen to the self-titled debut over this one.

Great energy but also too long in some places. Nonetheless a nice live album but hardly essential listening.

Somewhat middleing, with a few Tricks that stand out and the rest not really being that memorable. I like the overall vibe and sound, but it couldn't Keeper my interest the whole way through.

Great production. Chris Cornell had such an amazing voice. a bit long, as was the standard at the time. Loses a bit of steam in the last third. Nonetheless a fun record. 3,5 stars

Fun record. Opener is a classic, The rest then goes in an unexpected direction. Bluesy, jazzy, sometimes sounding like something from Broadway. Short enough to not overstay its welcome. Perfect for a Summers day

First time listening to Yes, only knowing Roundabout before. That track, South Side of the Sky, Mood for a Day, and Heart of the Sunrise are great. The rest feels a bit like filler. But these tracks and the virtuosity of the musicianship easily elevates it to 4 stars.

Landfill britpop

Lighthearted, upbeat arrangements together with Sinatra's distinctive vice makes for a very smooth ans enjoyable record. Spring and summer day mood

Puts the fun in funk

Whole Album seems solid, without much that really stand out or stays with you long after listening. Probably nice to put on some occasions as a fitting background

A real mixed bag with high highs and low lows. Has aged suprisingly well for the most part, considering that its 25 years old at the time of these lines. In all the lows (nobody's perfect) drag the thing too much down for 4 stars that the highs (Don't tell me; What it feels like for a girl) would deserve.

Quite the experimental record. Electronic and avant-garde and the b side of course large ambient with help from Brian Eno. Favourites so far are Speed of Life, Sound and Vision, as well as Warszawa. Warrants multiple listens to fully comprehend and appreciate the compositions

Very fun, energetic britpop record. Very much its own thing. On many songs brings unique ideas to its sound. Will gladly listen to it again

I dont have anything against Drum&Bass but this is a drag. The songs feel aimless and meandering. I will concede that it is possibly quote well suited as background noise but that is hardly a compliment about its quality. For a conscious listen however, life is just too short.

This album doesn't break new ground but honestly it doesn't have to. The arrangements on this record in combination with Amy's voice and charisma bring this to the top of its genre all by themselves. This really does not have to behind the classics of old but should be named alongside them. Standouts are definately the singles but the rest is still very good.

Absolutely fantastic. Sexy, smooth and cool as can be. Does not sound like it was recorded in the 60s. Did not know soul can sound so progressive as this.

There are some really good blues riffs and momente shining through every now and then again, but overall they are just so buried under overlong and seemingly aimless meandering. Also "Feedback" must be a cruel joke, akin to Finnigan's Wake. I guess you would have had to be there to appreciate it, otherwise I can't think of a reason why one should waste their precious time on earth with this.

More sommer and disillusioned where "Born to Run" was still full of dreams and looking to be free, Bruder clearly processes his experiences of the Prior three years here. Still excellent, just as the Prior record and as the following would turn out to be.

There is a form of experimental that seems to be obtuse, annoying and different just for the sake of it and I find myself to be more and more impatient with it. You can be artsy and experimental and use uncommon time signatures and also sound good at the same time.

Marr's guitar work is absolutely beautiful. Morrisey's voice sounds emotional and fragile in the right moments and is certainly unique without crossing over to annoying. The middle part of the album is a bit of a lull but the beginning and closing songs more than make up for it.

What a pleasant surpise this is! Haben never heard of Michael Kiwanuka before I had no idea what to expect. Turns out what was waiting for me is a progressive-soul record with a wide array of influences. All songs very smoothly lead into the next one making the whole album feel like more than its parts. The whole thing takes you on such an enjoyable journey that you don't really feel the time pass. Will absolutely enter my rotation.

Some jazz really leans into the messier, more chaotic side, fortunately this is not one of those records. Great interplay of trumpet, piano and bass with some really impressive solos. Stays very listenable throughout.

I can hear the effort that went into making this album, but for the most time it just leaves me cold and doesn't invoke any particular feelings in me. Also the stark contrast between the aetherial feeling of some songs followed by fast and loud rockers is more jarring than anything else.

The only thing Investoren listened to before from Fleet Foxes is "Mykonos", I think. Which I very much liked, but I never went further. So listening to the debut in full, I knew what kind of style was waiting for me. Beautiful chamber rock, soft, melodious, relaxing. I have to say though, on full album length, it starts to feel a bit samesy, beauty notwithstanding. There are still highlights like "Ragged Wood", "Your Protector" and "Blue Ridge Mountains", but as a whole it does not quite reach the top for me.

Together with the Chili Peppers, Faith No More helped popularize the crossover genre, and from hearing this record for the first time, the latter leaned more into the metal side of things. It's certainly not bad, but I can't shake the feeling that I've grown out of this particular style. In my late teenage years I'd probably been all over this, but now it's merely "OK" to me, without leaving much of an lasting impression behind. It doesn't help that this record sounds like it's trying very hard to convey an attitude, to come of as cool and, in the end, achieving the opposite by trying too hard.

One of those massively influential albums, but this one still sounds good today. Das Model is an obvious hit, but the rest of the tracks are good as well

Stripped down to the bare necassities of just a man's voice and his guitar. Very chill, introspective and reflective. You have to be in the mood for this kind of music, but if you are it is very well worth a listen. Quality throughout, but missing a bit real standout highlights. On the other hand, only a runtime of 28 minutes, and I am very much a fan of records that know not to overstay their welcome and are more condensed and concise, instead of meandering and bloated, so there's an extra point for that.

I feel like this album works best when you find yourself in a very specific and quite narrow mindset. Additionally the environment should match as well. As stands, neither was right for me in the moment I was listening to it, but I can see the merit this album has when the circumstances are right. Nevertheless, many songs still feel a bit too long and Cohen's voice on this can sometimes a bit

Fantastic. Heavy guitar and a groovy rhythm section. Ozzy's vocals on this are very good still, unlike on later records where I find it almost unbearable. I prefer this to Paranoid and it's not even close.

Never heard of The Fall before, only knowing Mark E Smith from his collaboration with Gorillaz. This is not the most straightforward record, the vocal style takes a bit of getting used to. The album begins strong, Ladybug and the cover of Lost in Music are early highlights. Later the album increasingly dabbles in electronica, which does not really suit it and that particular style makes those tracks sound incredibly dated. In all though an interesting listen that challenged my usual listening habits which is more praise than I can give to some other records on this list.

Coldplay's debut is still rather reserved sounding compared to the increasingly bombastic sound of what was to follow in their discography. I quite like it, it's got a lot of beautiful songs that to me are not overplayed yet. However, sonically many songs are not that different from one another, so there was still room for improvement.

A treat to start the week with. Rubber Soul marks the beginning of my favourite Beatles era, where they emancipate from their rock'n'roll beginnings and start to experiment with their sound a lot more, but still sound very much like a group and not like four solo artists like in their late years. This is one of my favourites, one I can listen to All the time and enjoy it every time anew.

Had to abort after 15 minutes and did barely even make it that far. The songs are buried deep under tons of kitsch and schmalz that any potential they might else have had is suffocated. My body physically rejected listening just one more minute of this.

Really bland. The album runs for more than 50 minutes but nothing stands out for the entire runtime. The production sounds very 80s and of its time, for today's ears very dated. Can't help but think that I've heard this kind of music so much better and more interesting from other musicians a lot of time already.

Intereting concept. Execition is okay. A few tracks that stand out and a lot of background music, so really like a lot of Film soundtracks.

One of the great indie records of the aughts. Has the danceability of Franz Ferdinand and mixes it with a punk sound and clever lyrics. The result is still great today.

Fun, danceable, a bit of a time capsule to the 90s. Personally could have gone without "... in heaven" but the rest is more than solide with a few real standouts.

Solid bluesy record with a bit of a psychedlic touch. Listenable but also a bit middle of the road. Not bad, Not great just solid.

Run of the mill post punk record of the early 80s. Does not bring anything new or unique to the table that other artists haven't done better. Really don't see the point on this being an album one has to listen to.

Interesting sound I really wasn't familiar with before. Everybody performs with a virtuosity that is very enjoyable to listen to. Can see myself listening to this in the future again.