Crazy Rhythms is a sacred text for a reason. You can draw a direct line from the angular, geek-chic, hyper-rhythmic template of this album straight to generations of alternative royalty—from R.E.M. and Yo La Tengo to indie bands decades later. It is brilliantly peculiar, entirely timeless, and endlessly rewarding upon repeat listens.
does a game soundtrack count as an album if you haven't played the game
. A towering achievement in country-bluegrass songwriting. It proves that nobody can articulate pure, crushing sorrow quite like Dolly Parton—even when she's singing about upside-down landscapes.
nothing new here some collaborations but nothing stands out to me
unable to find
Japanese jazz what's not to like
bit weird but some nice stuff
great Fiona apple cone album
One Time for All Time is an enthralling, exhausting, and deeply rewarding listen. It successfully bridges the gap between the head-nodding intricacy of electronic music and the visceral thrill of a live rock band. For anyone diving into mid-2000s alternative instrumental music, it remains an essential, genre-defying record.
not my thing
not for me my dear
surly only people that have played the game would be intrested in this and even then only the sad ones
Gemstones is an eccentric, brilliantly melodic, and deeply offensive-to-some oddball record. It’s an acquired taste—either a masterpiece of warped, absurdist pop or a juvenile headache, depending entirely on your threshold for dark indie-rock irony.
nice sound... it's not garbage
pip album. some not bad.
an album with not a lot of profanity good wholesome music
again the profanity doesn't do anything for the overall experience
Untrue avoids the cold, clinical sterility sometimes associated with electronic music by packing every corner with deep humanity. The pitch-shifted, fragmented vocal samples sound like memories fading in real-time, creating a paradoxical sense of profound isolation paired with communal comfort.
It is an immersive masterpiece that rewards deep, headphone-isolated listening. Years after its release, its blueprint can still be heard echoing across modern electronic and pop production, yet nothing else quite captures its specific, shadowy magic.
I like a lot of ambient music but this is as bland as NO PUSSYFOOTING.
If you like your psych-pop mellow, deeply textured, and emotionally grounded with a touch of existential melancholy, Loss of Life is easily an 8/10 record.
This record is where the band grew up overnight. Heavily influenced by post-hardcore, The Cure (Robert Smith even guest-stars on "All of This"), and the moody atmosphere of side-project Box Car Racer, the album bridges youthful energy with genuine heartbreak and cynicism. It relies on atmospheric guitar delay, intricate drum work, and complex lyrical themes exploring divorce, impending adulthood, and distance
Stories was Avicii throwing open the doors to every genre that interested him. While it divides opinion on whether it flows as a cohesive front-to-back listen, it contains some of the most intricate, piano-driven production of his career.
I like this album
This is an essential listen for anyone who loves moody, atmospheric electronic music with a touch of post-punk grit. It holds up tremendously well as a defining blueprint for modern synth-pop.
Shallow Bed is an ambitious, deeply passionate debut. It takes the acoustic foundations of folk music and injects them with the heart and kinetic energy of alternative rock. If you appreciate soaring vocal harmonies, intricate string arrangements, and music that builds toward explosive emotional peaks, it remains a rewarding and underrated listen from the 2010s indie landscape
not my kind of thing
Violet succeeds because it completely commits to its own distinct identity. While some critics note that it borrows heavily from retro 80s aesthetics or features slight structural repetitions, its cohesive tracklist flows seamlessly from front to back.
It manages to be simultaneously eerie and uplifting, nostalgic and fresh, making it a foundational record for the dark electronic rock scene and a high-water mark in The Birthday Massacre's discography.
For All Happy Endings established David & the Citizens as one of Sweden's most promising underground exports of the decade, paving the way for their critically acclaimed sophomore follow-up, Until the Sadness Is Gone (2003). Though it can occasionally feel structurally chaotic, the record's unbridled passion, melodic inventiveness, and emotional honesty make it a rewarding listen for fans of scrappy, heartfelt turn-of-the-millennium indie rock.
not sure about this seems to jump a few directions
not my thing a bit too .........
While some critics noted that the 14-track runtime occasionally leans into repetition or overindulgence, the album's messy, sprawling nature is precisely what makes it feel alive. It is less a rigid pop product and more a sonic diary—a vibrant, sun-dappled document of a musician pulling himself out of the ruins and learning how to heal.
The Masterpiece. This is widely considered Magma’s magnum opus and the definitive entry point for the Zeuhl sound. It is a staggering, forty-minute ritualistic suite driven by militaristic marching rhythms, chanting choirs, and hypnotic brass. It builds to a breathtaking, cathartic climax.
not a bad album a bit samey
Psychic Warfare is a celebration of everything that makes heavy rock and roll fun. It's sharp, deeply groovy, intelligent, and punishingly tight. For a band well into its second decade of existence, releasing a record with this much vitality, urgency, and swagger is a monumental achievement
this is the kind of jazzy sounds I love
Barenaked Ladies' 1992 debut album, Gordon, is a masterclass in balancing brilliant pop-rock craftsmanship with self-deprecating, geek-chic whimsy. Arriving right at the height of the grunge era, it shouldn't have worked—yet its acoustic-driven charm, stellar four-part harmonies, and sharp lyricism turned it into an absolute triumph.
Thank Christ for the Bomb is an essential record that refuses to sound dated. While contemporaries like Led Zeppelin and Black Sabbath grabbed the lion's share of stadium-sized glory, The Groundhogs carved out a sharper, leaner, and uniquely gritty niche. Tony McPhee’s guitar work avoids tired blues clichés in favor of soaring feedback, intricate phrasing, and a raw, spontaneous energy
I like the mix of these dlsomgs
you know what your getting with cjet
No Balance Palace is a masterclass in ambitious Scandinavian alternative rock. It avoids resting on the laurels of its predecessor by taking bold artistic risks, resulting in a record that feels mature, dark, and wonderfully dense.
Stellar production value, by Tony Visconti incredible high-profile collaborations that actually serve the music, and rich atmospheric depth.
While the ambient soundscapes and interludes can occasionally disrupt the momentum, the sheer technical brilliance of the musicianship and the raw emotional weight of the centerpiece tracks make 10,000 Days an essential cornerstone of 2000s progressive metal.
Released in 1996, Crimson is widely regarded as the absolute masterpiece of Swedish progressive death metal pioneers Edge of Sanity. Spearheaded by musical polymath Dan Swanö, the album is a monumental achievement: a single, uninterrupted 40-minute song divided seamlessly into thematic movements, conceptualized around a dystopian sci-fi narrative of human extinction and a world where humanity can no longer reproduce
Circles is an inherently bittersweet listen. Because of the circumstances of its release, it is impossible to separate the music from the grief of losing an artist who was hitting a remarkable peak in his maturity and self-awareness.
Yet, rather than sounding like a dark, exploitative posthumous cash-grab, it feels like a genuine, therapeutic closure. It captures a man looking honestly at his flaws, anxieties, and desire for peace, resulting in one of the most respectful and powerful final chapters in modern popular music
Elmer Gantry's Velvet Opera is a rewarding listen for anyone digging deep into the archives of 1967–1968 British psychedelia. While a few tracks lean into typical late-60s studio indulgence, the album's melodic strength, adventurous arrangements, and transitional pre-prog energy keep it from feeling dated. It’s clever, eccentric, and bursting with period charm.
To understand Not Animal, you have to understand the backstory: the Indianapolis chamber-pop/indie outfit delivered their sophomore record to Epic Records, but the label wanted a more commercially friendly tracklist. A fierce creative standoff ensued. Ultimately, a compromise was reached where two different versions of the album were released simultaneously: Animal! (the label's preferred tracklist) and Not Animal (the band's preferred tracklist). While they share a few crossover tracks, they are largely distinct records.
Not Animal is a high-water mark of the late-2000s indie blog-rock era. It rewards repeat listens, peeling back layers of complex instrumentation and sharp lyricism that keep it from feeling dated.
dorkrockcorkrod isn't just a great underground record—it's widely regarded as one of the definitive pop-punk albums of the 2000s. It captures all the angst, humor, and heart of the genre without any of the slick, overproduced sheen of mainstream radio rock from that era
Instant Energy & Melodic Hooks: The album delivers immediate, punchy indie-pop/post-punk revival energy. It doesn't waste time—tracks like "Wreckin' Bar (Ra Ra Ra)" clock in under two minutes, packing a fast-paced garage rock punch.
An undisputed classic of its era that bridged the gap between emo, post-rock, and math-rock. It remains a masterclass in how complex musicianship can serve subtle, deeply emotional songwriting
David Comes to Life is a rare achievement: a concept album that isn't bogged down by its own pretension, and a hardcore-adjacent record that isn't afraid to be unabashedly melodic and widescreen. Fucked Up expanded the boundaries of what a punk band could accomplish on a double album without losing a single drop of grit or heart.
Released in 1999, Enema of the State isn't just a collection of catchy tracks—it’s the definitive blueprint for turn-of-the-millennium pop-punk. It took the fast, raw energy of skate punk and polished it with massive, radio-ready hooks that completely revitalized the genre for a new generation.
not my thing
David Koresh Superstar (2011) by English indie rock duo The Indelicates (Simon and Julia Indelicate) is an ambitious, dark, and remarkably sharp piece of work. Framing the 1993 Waco standoff through the structure of a grand, theatrical rock opera—drawing an obvious nod to Jesus Christ Superstar—the album manages an impressive balancing act: it is provocative and cynical, yet surprising in its psychological empathy.
Watch Out! captures Alexisonfire at a vital turning point. While 2006's Crisis would eventually solidify them as mainstream festival headliners with an even punchier rock sound, Watch Out! retains an erratic, youthful heart that many longtime fans consider the purest expression of the band's identity.
2 laid the blueprint for an entire decade of indie guitar bands. While Salad Days (2014) sharpened the production, 2 catches Mac at his most spontaneous and effortlessly cool. An absolute essential listen for modern indie rock.
goes along at a good pace the hold steady are a band with one sound. and it's a nice sound
Musically, St. Jude sits squarely in the tradition of punchy, guitar-driven British indie. Driven by sharp rhythm guitars, driving basslines, and Liam Fray’s distinctive, unvarnished vocal delivery, the album prioritizes direct, infectious energy over intricate arrangements.
St. Jude isn't an album that tries to reinvent the wheel—critics at the time noted its heavy reliance on established UK indie tropes—but its staying power lies in its sheer conviction, sharp melodies, and undeniable crowd energy. It captured a specific moment in British youth culture with absolute authenticity, ensuring its status as a beloved classic that still fills arenas today.
Key Markets (2015) is arguably the point where Sleaford Mods peaked their original raw, minimalist post-punk formula before adding more polished electronics to their later releases. It’s relentless, hilarious, brutally observant, and deeply British
If you enjoy conceptual narrative songwriting (think Al Stewart, Peter Gabriel-era Genesis, or Harry Chapin), Spanish Train and Other Stories is an essential 1970s album that holds up remarkably well.
Failure’s Fantastic Planet isn't just a high point for the 90s alternative scene; it stands as one of the most cohesive, atmospheric, and meticulously engineered space-rock records ever made.
Written and self-produced primarily by Ken Andrews and Greg Edwards, the 17-track concept album weaves themes of isolation, chemical addiction, and sci-fi detachment over thick, low-end-heavy guitar textures and brilliant melody.
If you enjoy chaotic, eccentric alternative metal (such as System of a Down, Maximum the Hormone, or Dir En Grey), World's End Fruit Basket is a hidden gem well worth exploring. However, its unhinged vocals and volatile genre shifts mean it is strictly a love-it-or-hate-it listening experience.
The album succeeds because it avoids sounding like a legacy act mailing it in. Instead, it leans hard into industrial pulses, spoken-word surrealism, William Blake literary nods, and delightfully weird detours (like the lounge-jazz absurdity of "Pumpkin Soup and Mashed Potatoes"). It is sharp, deeply idiosyncratic, and easily ranks among the very best records of The Fall's 21st-century output.
It’s the kind of record that ages like fine wine—every few years you pull it back off the shelf, let those cyclical rhythms draw you right back in, and wonder why you ever stopped listening to it.
The Monitor by Titus Andronicus (2010) is one of the most ambitious, rowdy, and brilliantly conceived indie/punk albums of the 21st century. Frontman Patrick Stickles took the angst of personal drift and framed it through the historical scope of the American Civil War—interlacing spoken-word historical speeches, massive horn sections, electric organs, and throat-shredding guitars
It bridges the gap between the Heartland rock storytelling of Bruce Springsteen, the literary punk grit of The Replacements, and the soaring, chaotic communal energy of Paul Westerberg or early Arcade Fire. It’s loud, literary, messy, and deeply emotional.
Vampire Weekend’s 2013 release, Modern Vampires of the City, is widely regarded as the band's magnum opus and stands as one of the defining indie-pop albums of the 2010s.
It marks the transition where the band shed their bright, prep-school tropical-pop image for something far richer, darker, and more emotionally mature.
Released in 2011 by Leyland Kirby under The Caretaker moniker, An Empty Bliss Beyond This World takes 1920s and 1930s ballroom jazz records and subjects them to delicate degradation—crackles, abrupt loops, echo, and sudden silences. Conceptually inspired by studies on Alzheimer's patients who retain memories of music long after other cognitive abilities fade, it captures the tragic beauty of lost, fragmented memory.
It stands as one of the defining ambient releases of the 2010s, laying the blueprint for Kirby’s monumental follow-up project, Everywhere at the End of Time. It is an essential, evocative listen for anyone interested in concept-driven music, sound collage, or atmospheric ambient