Very lovely sound, really well produced. The hooks didn't grab me too much, though. Would make nice mood music, but I don't see myself listening to it intently. Kinda want to listen again with headphones.
Very beautiful and lush, feels like it deserves a dedicated listening session - not so great for grabbing attention while working. The instrumentals and melodies also begin to blend together a bit.
Some very fun, big, nimble riffs. And obviously the drumming is sick af. Some of the bluesy stuff feels a bit rote.
The "sad punk" vibe gets a little tiring - the mood is a little drab and rainy despite the speed. Probably because of Dexter's vocal style and the minor keys. Gets kinda monotonous as the album goes on.
So far, feels like an improvement on Zeppelin I in every way. The riffs are super fun and the songs sound a lot more varied. Drags on a bit due to the length, but there are consistent bangers across the track list.
First song is really beautiful. I really love the vibey, psychedelic moments - especially with the vocal harmonies. After listening a second time, I fucking love this. It feels psychedelic in the best way.
Really didn't vibe with the vocal style. I'm sure this was groundbreaking when it came out, but a lot of the ideas here feel a little cliche now. I might like the album a bit more if knew the lyrics well, but I don't see myself returning to this any time soon.
Very nice sound, the production is impeccable. The hooks aren't really there, but I don't think that's the point. This is a perfect album to work to or put on at a gathering.
Something about the vocal style and instrumentation annoys me a little - it feels a bit overdone and cheesy. Some of the songs are really beautifully arranged, though. I appreciate the variety of instruments present, and there's a nice balance between weird and traditional vibes.
Hooks are insane, production is vibrant and huge. Some of the songs don't hit as hard as others, but this has bangers throughout the whole track list.
Track one is beautiful, obviously. The synthetic choral sound on 2/1 and 1/2 gets a little old, and feels a bit dated now. Last track is also very beautiful in a melancholic way.
Really like Timbaland's production on this, it's very smooth, crisp, and punchy. Missy's style on this was wayyyy more subdued than I had expected, only being familiar with her big hits prior to this listen. A lot of the album kinda floated along in the background, but it sounded great.
Very fun and big sound! Feels like a cross between hair metal and rock n roll.
Awesome, but definitely less bangers than Bad, and not quite as distinct sounding
Turn to Stone is such a fuckin electric way to open an album. I really love how wide the instrumental palette is here, especially stuff like the mariachi band on Across the Border. Thunder and Lightning is beautiful and uplifting.
The whole instrumental vibe is lovely and lush. The slower tracks are a little boring to sit through, and a couple of the less jangly songs don't stand out as well. Morrissey's voice is beautiful but also a little depressing.
Singing is kinda weak on some of these tracks - kinda the same effect as Supertramp, where it seems like they're really straining. The amount of times they reference "deaf, dumb, and blind" seems gratuitous. I'm still struggling with the vocals as well - Sensation felt hard to sit through. There's something edgeless about the sound of this whole thing that makes it feel weirdly plastic. I'm also not sensing much in the way of hooks, most of the songs lack a distinct chorus. Some of the more low-key moments like Welcome can sound quite lovely when the harmonies and acoustic guitar are prominent.
Very chill, relaxing vibe throughout. The instrumentals sound great, especially the piano. Obviously I can't make out the lyrics, but the vocals sound nice to me. It's not super hooky, but the sound is so great that I could listen to this as ambient music any time.
I really love the mystical, soft, and experimental nature of this. Love all the different instruments that are played with too. Crosby hasn't missed so far.
Ehhhhh. There were some cool ideas here and there, but overall none of these songs really grabbed my attention. There are also some *really* annoying bits, like the vocals in Yo Yo
The vocals are insane. Really like the production as well, especially for the time.
I liked the amount of experimentation going on. It was kind of a downer of an album, a few tracks just felt bleh.
Really love the sped-up reggae groove on the first track. Overall vibe of the album is very euphoric, with some high-energy parts and some much mellower.
It was a little drab for me. Kinda floated by in the background. Upon the third listen though, the album really popped for me. I'm not typically into the gothic vibe, but there are some really good hooks and fun use of instrumentation here. It gets a liiiittle too Danny Elfman at points, but this is a very fun but dark listen. The bass synth in Agent Orange is so wild.
Really like the lyrics on this, very woke for the era. Very simple sound, but it does a good job of frontlining the lyrics.
Right off the bat, vocals seem a little weak. Interesting how much the sound varies from song to song here. There's some stuff that points towards their later defining sound, but there are also a few hair metal bops and a few boomer-ass tracks. It was decent overall, but if I wanted to listen to Judas Priest, I'd probably just put on Painkiller.
I feel like I'm too much of a jazz normie to understand why this is good, but I really like how it sounds. Bemsha Swing has a kinda of tiresome melody.
Mannnnn I want so badly to understand why so many people say this is one of the greatest albums ever. There are some really beautiful sounds here. That part in Paranoid Android really kicked my ass the first time I heard it. Karma Police is a classic. But something about Thom Yorke's voice bums me out a little bit, it just feels so drab most of the time. I will say that I've enjoyed the album more every time I've heard it (4 times). Despite that, it still just feels like a great album, not an essential one. Maybe you had to be there.
I really really really can't stand this guy's edgelord-ass vocals. I don't know the last time I hated a song as much as Broken little sister. Some of the instrumental cuts are nice and vibey, but the overall palette just doesn't sit right with me. Soul auctioneer wasn't bad either, kinda sounds like Bob Dylan. Overall, I can't imagine wanting to listen to this front to back again.
I really love Jarvis Cocker's voice. The whole album feels very modern despite its age - I can definitely feel this influence of this on bands like The 1975 and especially Bleachers. The instrumentation is varied in a really satisfying way, and there are some really epic feeling song structures.
Gil's voice is very interesting and powerful. I really really really liked the poetry at the end.
Quine El Harba is such a banger, I really like the instrumental. The vocals on track 1 felt pretty strained. Trig Lychee sounds wicked ahead of its time, very much reminds me of Kygo type stuff. The beat on E'dir E'sseba is awesome too. Gouloulha had annoying vocals once again. This one has some really great tracks, but also some pretty annoying ones.
Holy shit this is so great. I never realized what an influence this dude had on indie music. This reminds me a lottt of Pavement. Really impressed with the guitar Solo on Vicious.
I like how the beginning of Concrete Jungle sounds like it's gonna be a funk song, before dropping into the reggae groove. All in all, this sounds about how I expected. Obviously Stir It Up is a banger. Overall, I just have a hard time listening actively to reggae.
Have a Cigar has such a nice beat, and I really like the vocals. Welcome to the Machine felt a little slow and boring to me, and the synths were a bit annoying. Shine on You Crazy Diamond (Parts I-V) didn't really grab me the first couple of listens, but I'll give it a few more tries. Wish You Were Here is absolutely beautiful. On third listen, the intro to Shine On is really vibey and kinda epic, reminds me a little bit of that Flume song.
The instrumentation and melodies on When I Get to the Border are beautiful. There are some really beautiful melodies all throughout. The more low-key tracks don't do much for me. The Little Beggar Girl sounds too much like Do Your Ears Hang Low.
Maybe Your Baby is so cool, especially the vocals and bass. Obviously Superstition is a slapper. Big Brother has a really nice folky vibe to it. The beginning of Lookin For Another Pure Love almost sounds like Jimmy Buffet lol. Really love the sax on Tuesday Heartbreak. Blame it On the Sun has some beautiful melodies
First track SLAPS. I love her voice, and the instrumental hits hard while also being very attractive - makes me think of some White Stripes tracks.
Absolute classic. Perfect album
I kinda struggle with this super-emotive vocal style. Kinda feels faux-deep/boomer-y. I guess it's commendable how many genres the test out here. Goodbye has a nice retro vibe to it. Waiting for the Heartaches has a really insipid rhyming scheme. Bad Man just continues the trend of me hating the vocals. The last track had some line about seashells on the seashore, and then it ends with "calendars and clocks, dickory-dock" over and over and o v e r. There are some really interesting ideas throughout the album but they're drowning in a sea of obnoxious and trite music, vocals, and lyrics. This whole gives me very "local band who plays in coffee shops and wears drug rugs" vibes.
First two tracks are obvious classics. The instrumental palette is extremely nice across the album. The vocals on Crazy Love are way softer than I knew he could get. Everyone is very cute sounding, and I love the harpsichord.
So far, none of the album comes even close to There She Goes. Kinda vibey but also a little generic feeling. Much more rock-n-roll than I was expecting. All By Myself is SO boring. Over is another snoozefest. It also just feels a little boomer-y overall. Not a fan
Obviously, some classic bangers on here. I really like the spoken intro/interludes, they make the album feel really candid. Even though not all of the songs stuck on the first listen, I just really loved the overall vibe of the album, and the instrumentals were great.
The slower vibe of the album was a bit of a letdown after Boddhisatva. That being said, I really like the lyrics on here, they feel really playful and precocious. The varied instrumentation is very fun, and I like the sometimes experimental production. The group vocals and brass section on My Old School are sick.
I was a little let down by the slower pace following Boddhistva as an opener. Really didn't care for Boston Rag, too slow and not catchy at all. The instrumental palette and use of effects across the album is awesome, thought. Was pretty into Your Gold Teeth, Show Biz Kids, and King of the World. REALLY loved My Old School, very fun with the group vocals and brass.
The level of influence is immediately obvious - I definitely hear a lot of White Stripes in here, like on Yellow Brick Road. Zig Zag Wanderer is a massive banger.
So far, this is really floating by in the background. feels like kinda generic grunge.
Black Mirror was a little boring, but I liked the piano melody. Keep the Car Running is one of my all-time favorite songs. Neon Bible felt similarly boring, kinda just repeating the same thing over and over. Really like the grandiosity of No Cars Go. Intervention has a great sense of progression, love the way it builds up.
I've really come around on Oh Baby. I used to think it was a little too slow and vibey, but it has a really nice atmosphere. Love the energy on Other Voices, and the woman's spoken vocals are awesome. Change Yr Mind didn't gel with me - didn't like the slow, downtrodden energy. Call the Police is very epic feeling, kinda reminds me of All My Friends. Really don't care for the ballad-y vibe of American Dream, but I do love the descending synth part.
Very vibey overall, almost too much so. I had a hard time staying focused. Good background music though.
The first leg is awesome. Really like Guilty Conscience - the bars are hilarious and I love the back-and-forth between Em and Dre. '97 Bonnie and Clyde is kind of obnoxious and edgy but not in a fun way. Role Model is hilarious. I always thought Eminem was annoying, but this might be the funniest rap album I've ever heard.
This is way heavier than I expected based on the band name and cover art. I really like the aggression of the vocals and the weirdness of the instrumental. As the record went on, the vocals started to wear me down. I also didn't find the songwriting very memorable.
I didn't expect to like this nearly as much as I did. I had heard Elliott was very melancholic, which isn't typically my vibe. He def is, but this isn't just an hour of mournful acoustic ballads. The instrumentation and production is beautiful and vibrant. Elliott's voice is very expressive, and he writes mean hooks. I was honestly blown away by this.
I liked the spoken word bits sonically, but they often felt obnoxiously "deep". Like some self-proclaimed old soul waxing poetic about the meaning of life. This seems to be a weird trend in electronic music specifically. The beats are decent.
Really fun album overall. A little punky, a little Beatles, it just sounds like they're having a great time. The songwriting is tight and catchy, and there's a lot of variety.
There really aren't any skips on the record. I was pleasantly surprised by the tracks I hadn't heard before. Obviously, Free Bird, Gimme Three Steps, Tuesday's Gone, Simple man are all certified hood classics.
Lots of classics on this. Kanye's a fuckin Nazi tho
I keep running into this issue with albums of this era - everything kinda sounds like the Beatles, but not *quite* as good. Still, I really like the humor on this album, and the songs are written well. There's a decent amount of stylistic experimentation as well, which I love.
Love the variety of instrumentation here. The female vocals are hauntingly beautiful on Don't Give Up. Big Time is a banger, but it sounds so aggressively 80's. Nothing quite lives up to Sledgehammer, but overall I like the album.
Lots of catchy stuff on here! Unfortunately, this is such a foundational sound that it feels a bit overdone/obvious now.
Definitely felt like a very cohesive concept album. This is both a plus and a minus - there were a couple parts that gave me "Tommy" PTSD. Unlike that album though, the occasional monotony isn't suffocating, and I could definitely see returning to this. Unfortunately, I feel like the cohesion took precedence over making an album with a varied palette.
I'm starting to sense a pattern in the types of electronic music that make their way onto this list. The author seems very fond of ambling, somewhat esoteric 90's-era albums. I appreciate low-key vibes as much as the next person, but I wouldn't hate something with a bit more meat.
I love the 60's of it all. The vibe throughout is very psychedelic and jangly. There are some really interesting production choices that elevate it above just being a retread. The hooks aren't always super catchy, but that's forgivable given how beautiful this sounds
I'm blown away by how hard this production hits given its age. I often find that older stuff (especially metal and electronic) lacks the bite of modern production, but this has it. The bass is thick, and everything sounds big af.
The surprise second half of If I Were With Her Now really blew me away the second time - the beginning also reminds me of I Got A Feeling. The overall sound of the album is extremely vibey. I normally like higher-energy stuff, but I think these guys are really at their best when they're leaning into the softer side of their sound. I Want You has big Freedom! '90/Movin' Up energy.
Initial thoughts on first track: instrumental is sick (although some of the background production elements could definitely be removed), vocals are pretty mid and a little annoying. I really love how much genre mixing is going on here. When the singer isn't trying to do the Rockstar voice, he sounds way more palatable.
Very vibey and folky, acoustic, hippy-ish. It's nice, but not really my jam. It gives the vibe of something that's better when you know the lyrics. The mood is very wistful and melancholy.
So far I love the instrumental palette and the production, everything is so lush. Obviously, Annie Lennox's vocals are amazing.
First song has really nice punky energy. I was kinda surprised to hear the horns come in on Born in '69! The singer's voice is so-so, it's pop-punk adjacent, but has a little more of a "dude" edge to it. This pairs nicely with the Fishbone album. I'm on track 13 now, and the vocals are really starting to wear on me. This also has a bit of that trite Gen X humor, like Come See, Come Saw. Idk, I got real sick of this by the end.
Pretty decent all around, but it sounds *so* of its era. The quirky British-ness of it all gets a little overbearing.
Right off the bat, sounds like I'm in for another sadboi album. I do love the general vibe on track one though, the main guitar riff sounds pretty iconic, and I love the harmonica.
It feels like I'm not the target demo for this album. A lot of her vocalization gets on my nerves a bit, and I don't know enough about the history of England for this to resonate with me emotionally. Musically it doesn't really stand out to me.
They're really nailing the atmosphere they're going for here. I wish I could say it was the kind of atmosphere I enjoy, but it's not. The whole vibe here is very dark and moody, which just kinda bums me out. I do love the theremin on the first track, sounds very spooky. It's a Fire has a pretty beautiful sound and melody. Absolutely can't stand the "jazzy gal" voice on Glory Box. Overall though, I have to give credit to how singular the vision is here, and how well the production and instrumentation is put together. It feels way ahead of its time.
Idk man. I'm starting to think I just don't vibe with Pink Floyd that much. It feels like the middle ground between full-on prog and classic rock, but not in a good way. There's so much downtime padding out this track list, it felt like more often than not I was just waiting for something interesting to happen. Comfortably Numb is amazing though.
Really love the production - very forward thinking for its time, and the percussion especially is crisp af. Her voice is totally beautiful and impressive. That said, the overall vibe is pretty melancholy, and I didn't really hear anything that reached the heights of Two Weeks.
