The intro does not inspire much confidence. Sounds a bit like every shitty alt rock band from the early 2000s condensed into one. Instrumentals yearn for some vocal energy but instead we get this weak shit. Literally laughed out loud at the whispered "time" at the end of the first song.
Second tracks isn't getting any better. There are vague comparisons that could be made to Porcupine Tree in this second track, but they don't do anything interesting (whereas PT kicks ass). I'm sorry but fuck this. This is about as generic as it gets without anything redeeming. High 1
Cloissone is goofy AF but kind of fun. Can clearly see how this could be the same band responsible for Micky Mouse Funhouse music. Really that same tendency for theatrical carries throughout. And I'll say it mostly works for them. This album swings all over with some parts sounding a bit like Cake, others erring towards Gorrillaz, and there is a certain bombast that makes me think a bit of Jellyfish. I feel like what they do, they do well. Is it my favorite? No. But it is an entertaining listen. High 3
Not bad, but lost steam as it played on and I grew more tired of the twangy style. I forget which song it was, but there was also some god awful supporting vocals in here. For me this is a perfect 3.
There are many albums in this world, and that certainly was one of them.
Kind of weird deadpan delivery across this one. I do like Nobody. And I felt like on the whole this was a pleasant enough listen. Not something I'd get out of bed for, but the instrumentals were fine. This is a high 3 for me.
Never heard of Tosca before, but this is some solid coffee shop music if I've ever heard it. Innocuous, inoffensive, and familiar. This album is a series of electro-jazz landscapes that rarely inspire deeper thought, but are entirely palatable. Well suited to background music and something I'll add to my library for sure, but not something that I feel operates at a deeper level. For me this is perfect (albeit high) 3 territory.
Don't get me wrong, this was fine and all, but it was hardly something to stimulate. Felt like pretty generic hip-hop influenced electronic music to me that ran altogether too long. Soft 3 for me.
Meh, maybe I'm just a grinch, but explicit comedy "music" isn't something I can really get into in an album format. One or two songs at a time? Sure. But an hour long double disc adventure? Nah.
Don't get me wrong, some of these are definitely funny and the whole schtick of this being recorded during the covid lockdowns serves as a sort of time capsule for that particular moment. But once again, not something I would actually listen to more than once. Highlights from what I remember from listening a couple of days ago were How the World Works, White Woman's Instagram, the two parted Bezos adventure, and Welcome to the Internet.
For the format, solid. For general review 2
I do find it rather funny that both this album and The Shape Of Punk To Come are on this list. Both are new to me.
Good jazz is good. This was good jazz. But I don't really know how to review jazz good. So I'm going to give this a 4 and walk away.
I'll say this one hits around a low 3 for me. His vocals are solid and I appreciate the modern blues guitar work throughout, but something in here doesn't quite connect for me. I think in general I find myself a bit distrustful of "blues" that feels more heavily produced, and for some reason that translates to my inability to fully sink into the songs themselves. They have a quality that sits just above the surface.
A fine entry, and I'm glad for the listen, it just didn't connect at a deeper level for me.
I'm really not a big fan of this style of lo-fi noise rock. The whole thing is just gating and unpleasant. Really enjoyed when this one ended. Lands around the upper end of a 1 for my enjoyment.
This is spooky as shit. The sparseness and torturedness of the vocals make me think a bit of Nick Drake. But really the similarities stop there. This is far more sparse and lacks the prettiness and melodies that Drake drapes his sorrow in. Other similarity here is the echo + distance feel reminds me of Elvis' Blue Moon.
That said, I'm in the (assumed from avg. score) minority that this works for. Is this something I'm going to jam out to repeatedly? No. But there is something here that I really do enjoy.
Okay, well I guess there are some more straightforward melodies to be had here (or at least allusions to them): She's The Star/I Take This Time is downright upbeat for this album. It's also beautiful. Treehouse is a fun one.
Gotta be honest with myself here. This album runs far too long. I mean, I'm into the sparseness and weirdness of a lot of these, but after a while I grew a bit exhausted.
For that, this dips from a 4 to a 3. But I'll be back again for sure.
I've seen the album cover before, but can't recall ever listening to this one. Not a style of music I generally spend much time with, but I actually enjoyed this one. Vocally, I found some of it to err on the whiny / annoying side, but instrumentally this was really enjoyable. Really enjoyed Jesus Christ and a number of other tracks. Ripped through this about 4 times today and it really grew on me with each listen. Solid 4 / 5 in my book.
Loving this one out of the gate. The synths are at once mysterious and familiar -- calling tonal similarities to SOYCD. The integration of dialog into Blush Response is also just fantastic. (helps to have good source material) This was a very enjoyable ride and made for fantastic background music. High 4
Gotta say, Mike Patton has quite a range. Did not realize until listening to RV that he's the same dude behind Mr. Bungle. This was altogether too long, but I did enjoy most of it. I think this falls somewhere around a low 4 for me.
I remember when this first came out Midnight City was the bees knees. And listening again it has held up pretty well with a certain synth pop brightness that feels very much like the early 2010s. As far as the rest of the album goes, this is fine, but ultimately a lot longer than my attention was willing to hold for. I know critically, this one garnered a lot of good attention, but I never have been swayed by it. It's a fine album, don't get me wrong, but there is little memorable to me outside of Midnight City. Middling 3 / 5 for me.
Very mixed on this one. I enjoyed the sludginess of Then Comes Dudley, and I otherwise enjoyed the instrumentals, but the vocals and choruses were often laughably bad. And yet, I find myself coming back for more, so I'm not sure what to make of that. Seasick is one that stands out for this -- the vocal performance is pretty awful, but I actually like the song.
Yea... despite the stupidness of the vocals, I am pretty into the sloppiness of this. Not something I would play in the car with someone else, but I would readily go back into this one on my own. Solid 4
Never listened to this one in full, but I fucking love Cannonball. Such an absolute jam. Otherwise, this album was sort of all over the place, but in a good way. I probably have listened to this 4 times now. Has a vaguely surf rock flair that carries over from Pixies. Favorites from my listens were I Just Wanna Get Along, Do You Love Me Now?, Divine Hammer, and somewhat surprisingly Drivin' on 9.
This falls around a high 4 for me. Really enjoyed this.
One of them songs was a jam, but I was only half listening. Going back in to find it.
For a fairly modern band I've never heard of this was pretty solid. Help I'm Alive has a Pixies (but poppier) vibe to it that I can get down with.
I like the synths on Twilight Galaxy. Oh I guess it was the closer Stadium Love. Song is a lot of fun.
Gotta say this isn't the most memorable album, but it was a good bit of fun to listen to. Low 4 for me.
Lead singer reminds me a lot of somebody else and I'm struggling to put a finger on it... Maybe vaguely DMB -- probably closer to Counting Crows? But I'm not sure.
Either way, some I'm 6 songs in and general impression is the vocal style is not my favorite, but also it kind of works. Instrumentally, these guys can certainly jam. A lot of it plays close to center, but they occasionally branch out and deliver. Probably makes for a fun live show.
Ultimately, this was okay, but on just that. This falls in a middle 3 for me.
I'm sorry, but Avicii does absolutely nothing for me. This plays out like the audio equivalent of artificial flavoring. I understand its place in the world, and I don't intend to demean those who derive enjoyment from this, but every song is candy coated and formulaic with glittery soulless electronic "beats" and predictable inane vocals. Very occasionally things stumble into a space that resembles actual fun (True Believer), but more often than not this plays like music that people believe they are supposed to play while having fun. A shiny veneer of sorts to backdrop basement frat parties. I'm halfway through and really trying to keep going, but I'm losing steam and faith. Yeah I can't do it... This just isn't for me. Not awful in the sense that I can listen to it, but awful in the sense that I will willingly turn this off in favor of just about anything else. High 1.
Can't honestly say that I've listened to much flamenco in my life. So I therefore lack context by which to really evaluate this in any relative sense. I'll say that this was an album that was pleasant enough and there is some solid playing to be had, but it didn't really get me going. Plaza Alta was my favorite on a first listen. Otherwise, this was nice, but not something I'll be back for. 3 / 5.
Listened to this one a few times trying to get a proper impression. Ultimately, I think this made for an entertaining enough listen with sounds that came through as a sort of more palatable (poppy?) fusion of styles that resemble Modest Mouse and Mars Volta. My impression is that this album was trying to do a lot of things and deliberately be quirky. And in some cases that worked well, but in others it missed for me. Rounding this one out to a high 3.
I've never been a big fan of the blown out shrill hair metal vocals and 24 Hrs. Ago has me bracing for the next 48 minutes. This falls somewhere between Bon Scott and Bruce Dickenson.
Gotta say though, that the first 4 songs do rip. Particularly 24 Hrs. Ago and Legions. Strange Wings reminds me quite a bit of Scorpions.
Prelude to Madness is familiar -- pretty sure Trans Siberian Orchestra covers this. Hall of the Mountain King does indeed rip.
Kind of lost some steam through the back half, but this was a lot more enjoyable than I expected out of the gate. Still not a huge fan of the operatic vocals, but this was a fun ride. Lowest of 4s.
This one started out with promise, but as it wore on, I also wore tired of it. Ten Thousand Words sounds like a less impressive version of a Sufjan Stevens song. And I hated Kick Drum Heart. Also found Tin Man to be rather inconsistent with the rest of the album lyrically. Kind of meh overall. Not "bad" necessarily, but not really for me. I know all rating scales are arbitrary, but out of 5 doesn't give quite enough granularity. I find my 3 ranges a wide span of albums from almost bad, to almost memorable. Makes it feel unfair to give this the same 3 as Mestro, where I actually mostly enjoyed that one. So I'll resign to a somewhat harsh 2 / 5.
Three songs in this feels a lot like a lot of things I've heard before, but not as intriguing as any of them independently. Hello Time Bomb is like a less interesting Incubus and Strange Days feels vaguely of REM mixed with Lifehouse. Kind of lost focus after the first couple of tracks and never really heard anything beyond that point to catch my ear. Not bad, but highly forgettable album imo. A low 3 for me.
It's been a while since I've listened to Snarky Puppy. I remember really enjoying Tell Your Friends in a time when most of my music came from MP3 rips of other friends' music catalogs. But I never went for the deep dive of their discog in the streaming era. Pretty cool that both this album and Tell Your Friends were recorded in a "semi-live" atmosphere as opposed to a traditional studio environment. And while I'll say that this is a very solid and satisfying album I feel like Tell Your Friends has a bit more memorable of a feel to it. Of course that could just be personal experience tinted by rose colored glasses.
Shofukan is a solid opener. Absolutely love the synth groove that they drop into around 4:30 with all of the percussion layering. What About Me? feels a little sloppy through the back half, but I'm hardly complaining. Song is an absolute jam. Love the horns and hand percussion on Tio Macaco. Otherwise, just bright and enjoyable and bright jazz fusion.
This stands somewhere along the high 4 - low 5 boundary. I feel like the replayability factor is high enough to merit the bump.
Looks like the last 50 minutes are live recordings so this is a more manageable 55 minutes. And what a 55 minutes those were. This album fucking slaps. I can imagine the screaming vocals might not be to everyone's taste, but you can't deny the energy these boys generate. Title track is a barn burner, and to sequence that into some folksy post-rock-ish fiddle is fantastic. This is new love.
Really into the opener actually -- gives some punkier RATM vibes. Actually love the duality of Liberation Frequency. New Noise feels very much like Limp Bizkit's Break Stuff, but somehow even more aggressive.
After like 4 solid playthroughs today of the album, I finally decided to go in for the live cuts. And I've gotta say, they hold up just as well. Amazing how small the room sounds when the audience comes through. Hook Line and Sinker is a jam.
C'mon guys... What're we doing here? I'm not saying this is bad by any means -- in fact there were a few songs that were straight boppers (Only in My Dreams, Red Hot) -- but this does sort of feel like replacement level glimmery, no worries 80s pop. Like much of this genre it feels wholly disposable. That said, it is kind of hard to hate on something so bright and fun. Also low key really enjoy Between the Lines -- something in the key progression reminds me of the synths on "Intro" by Mong Tong from their album Mystery (worth checking out for some synth heavy psych). Man I'm struggling. This feels like a high 3 to low 4. Going high 3 because I don't expect to be back, but I didn't hate the journey.
Fuck the stereo manipulation on The Prisoner. Few production tricks have pissed me off quicker or left quite so sour a taste in my mouth. Otherwise, this is a wonky one to be sure. Not bad, and nothing if not interesting. Drip Drip was probably my favorite on here. Otherwise, some dilapidated funhouse mirror type of folk that is very likely the product of heavy experimental drug use. I'm glad for the exposure, but likely will never be back again. 3 / 5.
I'll start by saying, I love me some early My Morning Jacket. Love the way that they maneuver genres blending surf rock elements, with crusty country rock open ended jams and even polka in the case of Into the Woods. They're incredibly nimble and capable in all without losing a core essence that makes it all sound like MMJ.
This live album is cut in the immediate wake of Z -- my personal favorite of theirs -- and serves as basically a condensation of Z and It Still Moves (I think only 3 or 4 songs are from their earlier albums). These are both comfort food albums of mine that get a lot of spins on the regular from me. So on the face, this is pretty much everything I would want from an MMJ show. And yet as I listen to this, I find myself wanting to turn to the studio cuts of Z and It Still Moves. Don't get me wrong there is plenty of energy here, and (for the most part) the vocals actually hold up well in the live environment, but outside of a few special moments, I didn't feel like this necessarily added to those studio experiences.
The special exceptions being the two song run Dondante and Run Thru. I mean Dondante on its own would give me chills in a live setting -- I feel like this song has one of the best builds of all time. And Run Thru just jams so damned hard on its own and through the outro its worth the trip on its own. Steam Engine is another barn burner along with Off The Record.
The source material is great. The setlist is impeccable. Great show. And highly enjoyable listen. Would 100% love to be at this live show. But I think this sits closer to a high 4 than a low 5 in my book.
I'm already primed on this one -- a former co-worker turned me onto ISIS last year when I was going through an exploratory metal phase. This falls closer to the post-rock side of the spectrum (like GY!BE but sludgier and with incomprehensible vocals). And while I expect the vocals to form a bit of a dividing line, I don't find them distracting in the same way as I did with Napalm Death, and the instrumentals are absolutely delightful here and make up the majority of the soundscape.
The Beginning and the End is a propulsive opener -- love it. Maritime is surprisingly curious and blissful sounding. Also love the space created on the intro of Weight in particular. Such a patient and wonderfully rewarding song. I've listened to this countless times and never tire of it. Same can be said for their other notable work -- Panopticon. If this resonated with you, definitely give it a listen.
For me this is a 5 all day. Clean production and great soundscape generation in a way that is entirely unique. Or at least I haven't come across anyone else doing it in quite the same way.
I haven't had much exposure to Khruangbin, but this is quite a bit more tasty and jazzy than I expected going in. Silky languid guitar lines are buttery and have a relaxed, surf jazz sort of vibe to them. This has a familiar feel to it that reminds me of some Japanese "jazz" artists (e.g., Mei Ehara [to an extent], Fishmans) as well as some modern jazz fusion groups (e.g., Robohands -- recommend checking out Shapes if you like this -- as well as some elements of BadBadNotGood). The production has a very warm and live feel to it giving significant depth to the guitars and punchiness to the drums, making for a satisfying tap along album to vibe out to.
High points from my listen were Two Fish and an Elephant, Dern Kala, and The Man Who Took My Sunglasses. Maybe not the most memorable album I've listened to, but it hits like a warm beachy breeze and I appreciate that. This straddles high 4, low 5 territory. I feel like this is probably more appropriate as a 4 only because I have heard these same sounds elsewhere -- which is not to say I don't love these sounds.
I briefly considered submitting this album for my own -- there was a time during my covid renovation series that this album and Japanese Breakfast's Soft Sounds from Another Planet were just about the only thing coming out of my speakers. If it hasn't been abundantly clear yet, I love the surf rock aesthetic and value what passes as "genuine" pretty much above all else. This album (and for that matter the majority of Mac Demarco's work) hit strong on both of those points. On this album his songs are delightfully warm, rough around the edges, and never too serious, while also being incredibly catchy.
The three song run of the opener is among the best I can think of off the top of my head. Cooking Up Something Good and Freaking Out the Neighborhood make a blissfully upbeat sandwich of the spaced-out Dreaming.
My notes got cleared, but I really enjoyed this one for what it was. The pairing of the three artists made for a tasteful listen with a curious air to it. Not something I expect I'll be back for quickly, but a solid listen through nonetheless. HIgh 3
Love me some Danny Brown, but this is not among the first albums I think of recommending of his. That credit would go to XXX and Old in that order. In any event, been a while since I spun this. Let's see how it's held up.
Danny was never a stranger to beat experimentation, but this album is a trip. He takes some real risks here that payoff unexpectedly. Like I can't imagine any other artist flipping Ain't it Funny effectively, but somehow the deep bass acts as a ballast to hold down an otherwise cartoon ass beat with his nasally vocals weaving in and out of traffic. Speaking of vocals, I think that is mainly the reason this album isn't among the first I pull to. At some point post Old, he ditched his vocal range in favor of a continuous high-pitch snarl. And while I don't necessarily dislike that delivery, I appreciated the variety and muscle that his low-end delivery provided (update: I guess From the Ground and Hell For It both apply this -- the latter more effectively IMO).
Really Doe is a fantastic posse cut that just gets better with each pass of the mic. Dope beat + Ab-Soul sounds actually healthy and puts down a dud-less bar + peak Kendrick / Earl Sweatshirt. TBH I miss mumbleless Earl - haven't been able to connect with his works as of late.
Lost takes a left turn into a jazzier sample flip. I think Golddust is the only song on here that I actively don't care for.
Forgot about Pneumonia, but this song jams as well. Love the ScHoolboy Q ad libs, but wish he could have gotten a verse here. Beat feels like it was made for him.
Solid album, but more spotty than the others I mentioned in the intro. For me this sits firmly around a 4.
Schism is a kickass song and there certainly is some great instrumentation in here. Parabola and Ticks & Leeches being two other standouts. Danny Carey is a monster and the bass has such a satisfying tone. Made for a solid listen, but (as with other TOOL albums) feels like it runs a little long and I lose interest. Solid 4 for me.
Something stylistically about the album cover makes me think of those I Spy hidden picture books from when we were kids -- can't explain it.
Anyway, the music is enjoyable if a bit forgettable ultimately. Enjoyed the ride and all of the synthy shit. Tora! Tora! Tora! and Photographic (despite stupid lyrics) were among my favorites here.
I'd say this is somewhere around a high 3.
This album had its moments, but they were not very frequent. Poema Social De Guerra Y Muerte was a high point -- some of the breakdowns reminded a bit of Rush (Tom Sawyer) actually. Otherwise, not really my cup o' tea -- this is a real down low 3.
Far from bad, but sounds a bit like a lot of things that were made around this period. For some reason, hearing this brings images of Little Miss Sunshine and Juno to my mind. That quirky sort of just left of stage alt-indie pop-rock that was common in the early 2000's (similar in tone and structure to other acts like Neutral Milk Hotel, Death Cab for Cutie, and The Decemberists).
The sounds aren't bad, but the vocals are for some reason a bit wearing. High 3 for no specific reason.
Really like Sister Dew -- vocals and delivery remind me of Spoon. Really enjoy One Advice, Space as well -- the looping synth sample reminds me of an NWA song (Fuck tha Police, maybe?). Vocals on Dream Sequence #1 remind me a lot of Death Cab For Cutie's I Will Possess Your Heart.
I really enjoyed this one. Will I remember it in a week? Doubtful. But I know what I enjoyed it in this moment. Feels familiar, but has its own unique flairs. Low 4.
How anyone could single out 1 album from KGLW's prodigious catalog is a feat in and of itself. This falls among the majority in that catalog that I have not previously listened to. But like so many of their albums that I have listened to before, it is incredibly rewarding.
This album finds their sounds draped in psychedelic robes. Long running Crumbling Castle affects an "aged" production sound that suites it well. Love the layered bits.
And honestly, I don't have a ton else to say here. For a neo-psych album tapping into that energy this excels. Makes for a pleasant enough journey with a sort of dark/moody/dungeony undertone (especially in the outro). I'd say this is somewhere on the border between 4/5. Leaning around an 8.8 or something. Solid listen to be sure.
Absolutely baffled that of all the albums in this world someone would chose Jack Johnson. I'm not saying its bad (I've never listened to this album), but I've always regarded his stuff as sort of inoffensive throw away music to listen to in the sunshine, and really not much more than that.
I'm not changing my original thoughts above, but I will say I can see the appeal here. Just because it _is_ inoffensive sunshine music doesn't mean it isn't enjoyable. This is a buoyant album that, while it lacks certain dimensionality, plays between well under its own logic. His voice is smooth and comforting (though I don't specifically love the frequent self harmonization technique that he uses), the guitar is bright and tasteful, and the drums serve their purpose.
Hardly life changing to listen to, but I'll be damned if I wouldn't put this on and clean the house to it. Solid 4 / 5.
This album absolutely slaps. Chock full of tight grooves, solid bass, and face melting riffs. TBH I think I enjoyed it even more than Vivid. The writing does a good job balancing social commentary without feeling overbearing or overwrought. And the vocals are always somewhere that I have felt Living Colour was one step above the rest in this genre. Only downside is this album sprawls a little too wide at times diminishing slightly from the experience. Makes for more of a high 8 than a low 9 imo.
Time's Up is a wild free-wheeling opener. Some hardcore punk spirit mixed with funky grooves, makes for a hell of a mood setter. By comparison follow-up Pride is much more rooted in the spirit of Cult of Personality. Actually it is almost cut from the exact same cloth with a little less flair.
Love Rears Its Ugly Head has a more early-RHCP funk/jazz-adjacent feel to it. Actually love this song. Elvis Is Dead is kind of dumb, but a downright jam -- fitting that the cyclic bass line reminds me of an even dumber song by RHCP "I Like Dirt." Information Overload is a barn burner -- love it. Ology sounds like something Thundercat would make, and I intend that as a compliment. Drums are a stand out on Fight the Fight
Good clean fun. Solid record
I enjoyed this quite a bit more than I expected on the face of it. Quite moody and I thoroughly enjoyed the droning usage throughout.
Favorites of mine were closer Hunting the Wren, jaunty The Pride of Petravore, and Ode to Lullaby. Not something I'd listen to a ton, but a solid listen no less. Low 8 in my book -- an unexpected win.
Not really my favorite music style, but credit where it's due -- I saw Paramore with my girlfriend of the time back in 2010 (so probably on the tail of this album) and they put on a great show. Lot of energy, solid vocals, and great crowd work.
But at the core this is fine, but not really my type of music. For poppy emo-adjacent alt-rock this is well above median, but for me the ceiling on that genre is quite low. 3 / 5
Have to say this was an interesting listen with a freewheeling feel to it. This one has a roughness to it that extends from the vocals through the jammy sprawling nature. Opener Burning Sister makes me think of Can mixed with Zappa for some reason. Really enjoy the bleedover into Halluzination Guillotine -- and for that matter the song names. This song jams in a sludgy sort of way. Flesh-Coloured Anti-Aircraft Alarm has a franticness about it and the inclusion of fiddle and whatnot is quite nice. Cerebus is a nice folksy instrumental that turns psychedelic. Eye Shaking King is a sprawling jam -- actually reminded me of some early Dead.
Glad for this one. Solid 4 that I would probably never have otherwise found.
Far from exceptional, but also far from bad. I think this falls into the usual trappings of pop in that it sounds a lot like a lot -- almost a chameleon feel to it. Don't Think Twice sounds a lot like Rhianna with some dancier influence, whereas You & I sounds quite a bit like Miley Cyrus. Some others like You & I have more of a Swift vibe (circa Folklore) about them. While others still feel more like Lorde (Girl in the Mirror). Could have done without Praising You, but I did enjoy Girl in the Mirror and the production in a general sense. That said, it doesn't really leave a mark of its own (imo); good, but not unique. 3 / 5.
This was a cool one with a lot of familiar sounds that I've heard sampled/flipped elsewhere. An interesting fusion of salsa, jazz, hip-hop, and dance/house/disco.
Of the familiar sounds, two in particular stand out: Nautilus (Mawtilus) was flipped prominently into Extradite by Freddie Gibbs and Black Thought as well as Danny Brown's Pac Blood (and a number of others based on SampledBy); and I know I've heard I Am The Black Gold of The Sun though I couldn't say where.
The rest of the album is sprawling, but effortlessly cool. Mood music of sorts that ventures from salsa club atmospheres (Habriendo El Dominate, Maw Latin Blues) to downtemp trip-hop (Roy's Scat) to ATCQ-flavored hip-hop sampling (Jazzy Jeff's Theme), and something disco-funk adjacent (Sweet Tears and Runaway). Makes for a varied listen that, while a bit overlong, is nonetheless entertaining and fairly innocuous. Solid enough 4 / 5 imo
I bought full into this album and all of its hype when it first came out. And while I think it has held up well enough for a club-pop album, the experience has definitely dulled a bit with time and I find myself coming back less and less often. Actually, if anything I find myself steering towards the remix album "Brat and it's completely different but also sill brat" that hits a bit harder and adds depth on this original.
Still I do enjoy this album every time I listen to it. Favorites err towards the more upbeat (Von dutch, 360, Club classics, Girl so confusing, 365). Good clean fun. 4 / 5
This is one of those albums that I can put on any time, any place, and it works. I did not own this album growing up, but I distinctly remember listening to it getting a ride somewhere from my friend's older brother. I remember him blasting White Light at full volume and thinking it was both some of the weirdest music I had heard and also totally fucking awesome.
The whole album is stacked -- as is Gorillaz early discog. This one has a very loose sort of concept feel about it that does unify the experience a bit more than Gorillaz, but less so that Plastic Beach. But it has an effortless feel about it all the way through that I think suits Albarn. Doesn't hurt that he was able to get some solid support on here from De La Soul and MF DOOM. Too much to love here, from the ultra-dancey one two punch of Dirty Harry (a loose continuation of Clint Eastwood thematically) and Feel Good Inc. To the sprawling El Manana, down in the gutter November Has Come, and album rippers White Light and (standout for me) DARE. The last three albums are an interesting come down off of the high of DARE. Whole thing rocks. 5 / 5
This feels like a bit like a poor man's RATM (20 years after the fact). Really I didn't mind the energy in general, but this falls victim to some awful lyrics and bitchy vocal layering that really take away from the experience. Unexpected to get Vinnie Paz from Jedi Mind Tricks on here -- one of the better rap/hardcore integrations I've heard (The House Always Wins). But then they do some corny ass production games to bring in a "crowd" response sound that takes away. I guess that's just the story of this album. With some better choices, I could see this as a low 4, but as it is this felt like someone doing unnecessary hurdles during a 100m.
It's a 2 / 5 for me.
Crazy that for all his buzz, Frank Ocean has only two full studio albums to his name.
The autotuned vocals on Nikes are such a weird way to start, but the song has grown on me over time. Like a breath of fresh air when his unaltered vocals finally come through. Pink + White is a great track -- so bright and blissful. Also really like the stripped down Solo and Self Control. Nights is a jam. And he's one of the few able to pull 3 stacks out of rap retirement for a verse. Seigfried and Godspeed are great in the closing spots.
Altogether makes for a really nice and unique sounding album that doesn't quite have the punch of Channel ORANGE. High 4.
Well that certainly was a TOOL album. I'm really not sure what it is, but I cannot give myself over completely to TOOL. Like they make good noises. And I enjoy so much of what they do, but I find myself sort of bored whenever I listen to a full album. Doesn't help that this one is fugging long at almost 90 minutes. Only note I made while listening: "Invincible is a jam." I stand by that statement.
High 3 / Low 4 territory. Skewing downward because I probably won't be back.
This was pleasant enough, but little more for me. I think language difference is part of the disconnect; however, I have plenty of counter-examples that prevent me from completely writing it off along those bounds (Sigur Ros, some Helado Negro, some DJ Koze, Fishmans). I think in general I'm just not predisposed to this style of music and having gone through at least 10 such in the original list and now this one, I am left feeling like I couldn't possibly distinguish any one of them from another. Similar soundscapes, layering, and vocal styling that do little to entice another listen. For me this is a 2.
Neil Jung is a standout for me. I also like I Gotta Know -- something about it reminds me vaguely of Built to Spill. Same could be said for About You actually.
Not great, but also not bad. 3 / 5.
Unsure fully what to make of this one -- on one hand it has an explicitly campy atmosphere to it that really come through on tracks like Give My Compliments To the Chef. But putting that aside it is a (mostly) fun ride that reminds me of some other similar sounding (but hard to place) music. The vocals actually make me think of some Pink Floyd circa The Wall.
Tomorrow Belongs to Me is a bit of a low point, but otherwise, this was okay. Somewhere in a 3 territory that I probably won't be back for quickly.
Three tracks in I'm pretty into this. Sloppy and delightful post-punk. Maybe its not revolutionary, but its a vibe that I almost never don't enjoy. Solid album to kick off the week. 4/5
Listed as "midwest emo," I went in pretty hesitant, but I ended up enjoying this quite a bit -- a nice background while tiling. 8 is a jam. And honestly the rest ripped right along. The bass and vocals (at times) remind me vaguely of early Green Day (intended as a compliment), and the drums are satisfying if a bit sloppy during tempo changes. I think for me this is in a low 4 camp. Satisfying, and glad for the listen I otherwise wouldn't have ever given.
In The Light is a really pleasant listen. Really enjoy My Eyes too. For a boom-stomp "I'm quirky and like to wear suspenders and workwear to show it off" kind of album this was better than I expected. At its best calming. At its worst forgettable. 3 / 5
Ya know, going in, I was going to say that I could just about give any TOOL album a 4 without even listening. Sad to say that after listening to this, I stand corrected. This was a slog to get through. 3 tracks in I was bored out of my mind. I think it is purely a songwriting issue, because I have no problem listening to 20 minute GY!BE epics on repeat. Something about TOOL just feels forced and masturbatory to me. But unlike other albums we've encountered on this user list so far, this one really didn't have much in the way of payoff. Not saying there aren't points that jam (The Pot is pretty solid and the riffs on Jambi are cool), but as a whole album I was exhausted and looking forward to the end. Which (of course) TOOL had to delay by playing 5 solid minutes of bullshit stereo amp sounds into my ear canal. The album was a low 3 until that point, but pushes to a 2 because, fuck that.
About time for this one to show up. Quite possibly one of the most rewarding hip-hop collabs of all time, Madlib and DOOM work so well together. This thing rips end-to-end with tons of beat variety thanks madlib and plenty of crusty wordplay thanks to DOOM.
Love the dusty soul sample flip on Fancy Clown. Accordion has such a wildly unconventional beat and great wordplay. Meat Grinder: goofy intro, but song slaps hard. America's Most Blunted with madlib affecting his pitched-up alter ego Quasimoto. Great Day such a wonderfully spread out track. Always a great listen 5/5
Immediately makes me think of Elvis Costello, which is not exactly high praise. Who Listens to the Radio might be the most memorable track so far, but it has me wondering "who listens to THE SPORTS?"
Not saying this is bad, but it is far from inspiring. It does, however, feel very much in continuation with the original list.
Hitting the 80s back to back -- this time with more hair spray! Motley Crue isn't a band I've spent much time with. Like I know their hits (Shout at the Devil, Smokin in the Boys Room, Dr. Feelgood, etc.) but I haven't ever listened to an album end to end.
Shout at the Devil is a solid kick start out of the gate, and Looks That Kill is a surprising jam made for stadiums. This music just screams "Trans AM and Budweiser." Not bad, but something I have to be in a very specific mood for.
Sounds a bit like discount store Beck (at least Sometimes and Lullaby do). Lullaby flirts with a pop-country sound, but isn't altogether too bad. What Have You Done is a kind of strange transition vocally -- leaning fully into his accent and putting some sort of fuzz filter over it. Diamonds in the Mud is a pleasant listen.
Overall impression is this was a fairly pleasant album that I would otherwise never have gone out of my way for. For a whistle guy, he writes some solid songs and I did actually appreciate the bleed through of his accent into some of the songs. High 3 for me.
Started this one yesterday while tiling and couldn't hold on past track 3. Trying again today.
Feels like music made for people who love Neutral Milk Hotel and Decemberists without any of the specifically interesting bits that make those two acts so compelling. Which is not to say this is bad -- it is quite okay -- but it doesn't often go much beyond that point. Song Against Life is solid. Fine enough, but not something I'll ever listen to again. 3 / 5
NOT MY TEMPO!
But really I just hit Only a Dream and it is having a tranquilizing effect on me. Really not a bad listen (objectively) -- she has a nice voice and the compositions are fine and all -- but its not doing it for me. Need a little more pep in my step this Monday afternoon.
Really not bad, but not for me. 2 / 5
This one is kind of all over the place. On first listen I enjoyed it quite a bit, but on re-listen it lost some of its luster. Like its not bad, but it does kind of feel like its trying too hard. Favorites that held up were Mother and Lies. The rest varied from okay to bordering on awful (Focus Is Power, The Curse).
Very low 3 for me.
I don't know a ton about Jai Paul, but he strikes me as an enigmatic character. From what I remember reading, this album, formally released in 2019 was originally leaked pre-completion and he pretty much abandoned music (at least in the public sphere). Completely get it, given the amount of energy that must go into making an album just to have it pushed out before you were ready for the world to consume it. But for an album of "unfinished leaks/demos" this is fantastic. The beats are so warm and inviting and the vocal layering/effects are delightful. If only we could have seen what this would have become in its truly finished form. Has elements that remind me of other favorites in the electronic spectrum (kaytranada, burial + shlohmo (but far brighter), sbtrkt, mount kimbie)
Favorites on a couple of listens include the following. All Night - love the swelling synths punctuated with glimmery keys. garden of paradise - such a lush sounding track. Crush - dancey and funky. Jasmine - stripped down and yet propulsive. BTSTU - delightfully lopsided synths and the first song of his I ever found via a Moodyman mix for the DJ-Kicks series.
Falls in at a high 4 in my book.
Heard of The War On Drugs, but haven't listened to them before. Or at least I never made it through one of their albums. This one struck me as interesting, because I really did enjoy the landscapes and moods created by the music, but the vocals left something for me to desire. At a first pass all I can think of is "this make me think a lot of Don Henley." Which is weird, because I haven't actually listened to much Don Henley. Anyway... I'm not hating this, but also not loving it. Falls somewhere around a high 3 that I probably won't come back to.
What an album cover.
The fuck is the mixing on El ataque de las chicas cocodrilo? Sounds like a bad live experience when a wire disconnects... Kind of a shame, because otherwise this song sort of fucks. Kind of the experience of the album tbh. Not bad music, but the vocals are eh and the mixing is shit. Low 3 for me
Still remember the first time I heard Sleeping Lessons on a roadtrip to visit a friend at JMU. Kind of a weird song for that context, but I remember instantly loving it.
This is just a lovely sounding album. Great for early summer days. Phantom Limb is fantastic. Also really enjoy Split Needles. But really this is solid straight through. High 4
On one hand, I don't hate this. On the other hand I have neither the patience nor the desire to finish this. There were a couple of isolated parts where I thought to myself "this is kind of interesting" but that was swept away in a malaise of middle of the road bullshit. Meh / 5.
Vocals remind me (unfortunately) of Morrisey. Otherwise, really this isn't too bad. But 5 songs in, I don't expect to give it another listen. We'll see if that changes. Yeah 4 more songs and I'm ready to be done with this. This is a high 2 for me.
I know I've listened to this before, but I don't remember a lot. Feel like this one gets a lot of attention for having a super bright album cover that is such the opposite of most metal aesthetic. I'll be honest, the buried scream vocals don't do a ton for me. But as this album has gone on I find myself pulled closer into its orbit. Vertigo is much further along the post-rock spectrum and I'm here for it. Also the title track is pretty solid. IDK low 4 I guess
Easily a top 2 Who album for me. Similar to Tommy this has the whole rock opera thing going for it. In contrast with Tommy, it actually has good music. This one has some of my favorite Entwistle cuts on it -- The Real Me, 5:15.
This album contains two of the best songs The Who ever made: The Real Me and Love Reign O'er Me. Real Me is so punchy with a fat ass baseline. Love Reign O'er Me is fantastic coming out of The Rock, with such a dramatic build and delivery. One of those times where Daltrey really shines. The Punk and the Godfather is another solid one.
All around solid record. Not something I'm in the mood for all the time, but when I am it is a good journey. Gotta say this The Real Me Demo is pretty dope too -- first time I've heard it -- way swaggier.
I knew this guy's name sounded familiar -- he's one of the founding members of Porcupine Tree. And in this album he pulls along with him a lot of the same tricks he employed in that venture -- vocal effects aplenty, an affinity for oscillating between airy psychedelic sounding sections with more driven "metal" sections, and some drawn out compositions. Here however, there is a bit more synth focus than I remember hearing in PT. Not hating it, but it does at times feel a bit noodly (Regret #9). That said, like so much prog, this album has an underlying silliness factor that makes it a bit hard to take too seriously. Not that it is deliberately _trying_ to be silly -- rather something about the nature of prog pulling in these goofy tempo changes, synths, and vocal effects makes for a sort of unserious sounding music. This is not to say it isn't entertaining -- it absolutely is. And I think it would translate great to a live show. But it did feel a bit unfocused.
Love the Gilmourian guitar on Routine. Home Invasion is a fun little asymmetric jam out of the gate -- whole song feels like a bit of a forced voyage, but I can't deny that I enjoyed it. Ancestral is pretty cool.
Not a high 4, but definitely enough here to warrant another listen.
Two tracks in, I'm into this. Very light in tone, blending some late 90s sounding dance (particularly the drums and flute) with solid vocals and some dreamy guitar. Really big fan of Dans un spoutnik. Otherwise, this one sort of just washed over me. Felt a touch long, but was otherwise a pleasant inoffensive listen. This to me is high 3 to low 4 territory. Skewing up because it is a sunny day and it matched that vibe.
