The first two songs were fantastic. The second, nearly brought a tear to my eye. It certainly brought a smile to my face. The fourth song started with a dissonant performance. I like noise and chaos but this was something I wasn't used to. In seconds, I felt my unease being replaced with trust. A trust that these musicians will make this dissonance work, all I have to do is sit back and enjoy the ride. And I did, and they did. The album was fantastic. It also opened up a door into another culture through a blend of the familiar and the exotic. I look forward to exploring more music from this artist and his peers.

Some interesting sounds and samples. Enjoyable for sure, but not one I will be revisiting.

I've listened to this album before. It's fucking banger after banger. Maybe 1 or 2 songs that are filler-types. The use of stereo in the recording and production phase is awesome. Definitely keeping on rotation, like it has been.

It was alright. Very smiths sound, but I didn't find the songs as earworm-y or catchy. Morrissey wrote a lot of lyrics that I like hearing and reading, and Johnny marrs guitar playing is dope. I'm on the fence about it.

Fucking banger of an album. Of course, big iron and El paso, I already knew. But there's a few in here that are going to be kept in rotation. This album does so well at making me long for a place and time that doesn't exist now or even when it was recorded. The imagery and feelings in the music is amazing. Hard to believe that the entire album was recorded in 8 hours.

Not my type of music going into it but man was I pleasantly surprised. A minha menina is great, I had to listen to that one twice, it was so good. The album is really great. I'm probably going to have to get more restrictive with the 5 star ratings pretty soon. It's been like 3 in a row. Well, anyway. Albums dope, will definitely put it on again as background while studying or working.

The first two songs were fantastic. The second, nearly brought a tear to my eye. It certainly brought a smile to my face. The fourth song started with a dissonant performance. I like noise and chaos but this was something I wasn't used to. In seconds, I felt my unease being replaced with trust. A trust that these musicians will make this dissonance work, all I have to do is sit back and enjoy the ride. And I did, and they did. The album was fantastic. It also opened up a door into another culture through a blend of the familiar and the exotic. I look forward to exploring more music from this artist and his peers.

The first half of the album left me conflicted. I felt a primal urge to build an igloo. I wasn't sure if I liked it. The music, not the notion of igloo construction. Suzanne has a pretty voice, a talent at placing words after another in a way that imparts meaning as well imagery, without feeling hollow underneath the surface. Her songwriting style is quirky for the time, and even now, feels unique to her, although I can hear her influences in songwriters that came after her. I may not have appreciated the first half of the album as much as I had hoped. I did enjoy the second half of the album more. Undertow conveys images of an angry mermaid ensnaring her lover. The placement of the Queen and the Soldier and Knight Moves seems like it was intentionally meant to convey two parts of a greater story. I don't know if she ever continues that story but I would love to hear more of that world. Both songs are very good, and showcase her writing prowess and ability to write a catchy hook, respectively. The stories she tells are fascinating in a weird way, and I am finding myself drawn in by curiosity. I might find myself going deeper into her wordsmithing at a later date.

So many bangers. CCR takes me back to watching my dad pound beers at a tailgate for the miners. Great tunes, a few absolute classics, overall, every song is strong enough to shine on any other album of the genre.