Kinda funky, very French. Big rainy coffee house vibes. Into it, though maybe a little too floaty for me to listen to frequently.
Absolutely dripping with angst and desperation, in a fun way.
This album would fit in well alongside those by Daniel Johnston, John Prine, or other Singer-Songwriters in that vein. However, while this is an album that I can appreciate, it's not for me. It leans just a shade or two too far into Country, which just has a repellant quality to me for some reason.
Definitely a classic. A bluesy rock album, with guitar riffs quintessential to the time period, and keyboard lines that give the vibe of an American tent-revival. It's not hard to see why this is an album beloved by so many.
Trippy. Sounds like being abducted by some sort of otherworldly fae alien being, which is to be expected of Bjork.
Proto-Oasis vibes. Guitar tracks with 60's psychedelic motifs.
Man-Size Sextet comes out of left field, introducing sharp and ominous orchestral tones to what had been, until that point, a mostly gritty mid-90's sound. I hadn't really thought much of the album until that point, but the whole thing kind of shifted around there, and I enjoyed it more than I expected.
Riding some interesting lines between blues-rock, early pop-rock, rockabilly, and even proto-punk. Firmly in "groovy" territory, without being psychedelic.
It's not especially my "thing", but I can certainly appreciate it.
Smooth R&B vocal, with jazzy hip-hop beats. It's a good sound, though the lyrics definitely haven't aged well.
It's a fairly distinct and unusual sound, even next to similar artists/albums.
Lyrically, there are a lot of critiques on society, thinly veiled behind angsty nihilism and BDSM tropes. In the end, I can see why Reznor and NIN have so many fans, and I can also see why they have so many critics that consider it banal edgelord fair.
I'm somewhere in the middle. I can appreciate what it for what it is, but I wouldn't choose it over most other albums.
Sounds like the 1960's equivalent of a D&D Minstrel. Each song is more of a poem with musical accompaniment, which I guess is to be expected from Dylan.
Wish I liked it more, but it's just kind of boring to me.
Some of the songs sound like the nightclub scene in any late 90's movie, which isn't a bad thing. The aforementioned tracks are broken up by slow, ambient, and almost melancholic tracks.
It's very interesting, and there's a lot to like here.
Sounds like if the house band at your local dive bar were actually skilled musicians. It's a little jazzy, a little country, a little rock.
It still sounds very similar to a lot of the music of the time, but there's definitely a certain distinct quality to it.
Noisy in a good way. The Pixies and The Beavis Frond come to mind. This is the first album so far in this list I've listened to more than once.
The cover of Just Like Heaven might be my favorite version of the song I've ever heard.
There's a certain melancholic reverence held within anything I've ever heard by Nick Cave, and this album's no different.
Feels like I ought to like it, but I just can't.
It's a more approachable version of other popular groups around that time like, Korn, Papa Roach, etc.
It was definitely the sound of an era for a lot of people, myself included.
Sounds like driving down the Italian coast in a 60's movie.
A classic. Good times all around.
Sounds like what I imagine if someone decided to make a supergroup out of The Hollies and The Polyphonic Spree.
This is the first album from the list to confuse me. It's like cabaret tunes written by your goth friend. It's smart, depressive, very over the top, and pretty interesting, in certain ways.
That said, even after finishing it, I have no idea if it's meant to be taken seriously, as campy fun, or somewhere in between.
It's early 90's metal. It definitely made an impact, and was a contributor to the hair/glam-metal of the 80's becoming separated from the idea of "metal" music in exchange for what people think of more commonly now.
With that in mind, while I'm typically one for "separating the art from the artist", the blatant racism (past and present) makes it hard to have anything good to say about his.
I feel like this album had to have provided some amount of inspiration for early Gorillaz. It's funkier than you would expect from an album of its time.
This album is way sexier than I remember. The guest appearances are consistently surprising and enjoyable. Maybe not a mind blowing album, but definitely one worth listening to.
It's fine. It's a pretty standard late 90's "starting a solo career" pop-rock sound. It seems like wants to be Elton John or maybe George Michael, but ends up falling a bit short.
I never noticed how much influence Andre 3000/Outkast took from Parliament.
It's fine. Significantly more varied than expected, but nothing particularly great.
Weird. Two parts Bjork, one part Joy division, filter through late 2000's shoegaze.
This one was okay. It seems way ahead of its time to me, but I could be off with that estimation.
Sounds like your typical indie-pop-punk fair from the time. It's fun, but not anything incredible.
Very smooth and chill. Some tracks are very lo-fi, back before that was as well known as it is now. Most tracks, though, are more standard House-fare, but even those still have something distinct about them.
I enjoyed what I heard, but I also didn't realize it had ended for about 10 minutes.
