I'm glad Bowie started doing cocaine after this album.

I'm glad Bowie started doing cocaine after this album.

The first half - regardless of the undeniable stomper that is Take Me Out - left me feeling rather listless and bored. It gave me a vague feeling of 'wow, I really wish I was listening to Arctic Monkeys instead'. The second half of the record comes into its own though, seeing the group lean more into their post-punk influences. The riffs get crunchier, the vocal delivery style more distinct and rough, the hooks much better. Stand outs (minus the obvious one) include Michael and Darts of Pleasure. A solid noughties rock effort.

This album doesn't have as much of the anthemtic, fist-pumping quality of his music before or after this, and that benefits Darkness... greatly; allowing for Springsteen's lyrical and storytelling ability to shine through. Springsteen doesn't mince words or bother with parables and similes, which makes his words all the more relatable to the middling blue-collar worker like you or me. Personal highlight: Something in the Night.

Springfield's debut is a collection of covers of US soul classics, with her own booming British flair to them. Her voice is commanding, strong, and there's a glimpse of the incredible artist she would eventually become, but there's not a song here where I'd rather listen to Springfield's version than the original. Highlight is her cover of Ray Charles' Don't You Know, which sees her tap into some insane vocal riffs that she hadn't utilised on the album until then.

Historically important for the future of house music, yes, but also incredibly dated. This isn't music to be listening to with your headphones at home, reading reviews about online. It belongs to the ghosts of dancefloors in the 90s past.

One of the greatest MCs ever, backed by one of the greatest producers ever. Not even a feminist harpy like me can hate on those questionable abortion bars on B.I.B.L.E.

I had never even heard of this band before, but this album is incredible. Impeccable riffs, vocal hooks, gorgeous song structures... this is why I use this site, man.

Fuck whoever put this album on this damn 1001 albums list. Some of the most bland, listless rock I've had the displeasure of listening to.

Hideous. I love jazz and electronic music - there is no love and passion in the way this man makes music. He's just churning something out.

As fun as it is to make fun of Bono, he still has one of the best ears for melodies and hooks in rock music. This album literally starts with 3 of the greatest songs ever written, and Edge's guitar tone is stunning. The album becomes more sombre towards the end, and the last few tracks feel like sucker punches to the chest. A masterclass in songwriting.