Delving into Screaming Trees' "Dust", I find myself somewhat prepared, having heard Mark Lanegan's gravelly yet melodious voice through his collaborations with Queens of the Stone Age—a band that, with its unforgettable riffs and Josh Homme's charismatic presence, have long been one of my favourites. Lanegan's vocals hold a charm of their own, and are more engaging and palatable than many frontmen who have graced my speakers. Listening to "Dust" I found myself traversing a middle ground of appreciation. While it didn't redefine the genre or sweep me off my feet, it had some moments that shone through. There's a specific moodiness, a somber introspection that Screaming Trees manage to encapsulate, making it a worthwhile listen. While it might not occupy the top spot in my musical library, it's an album I'm glad to have experienced. Favourite Tracks: Halo of Ashes, All I Know, Sworn and Broken

Diving into The Cardigans' "First Band On The Moon" felt like embarking on a journey of musical rediscovery. Having a soft spot for "Lovefool"—despite its status as perhaps one of the era's most overplayed tracks—I was excited. "My Favourite Game," another gem (though on a different album), holds a special place in my heart, largely thanks to its presence in a 90s dance pad game that gives me a lot of nostalgia. My expectations for "First Band On The Moon" were high—perhaps unfairly so. Yet, as I listened to its tracks, I couldn't shake off a sense of disappointment. The album, to my ears, unfolded in a manner more monotonous than mesmerizing, missing the vibrant spark I had hoped to find. Beyond "Lovefool," which still manages to catch my attention with its catchy allure and has undeniably earned its place as a classic, the album failed to leave a significant mark on me. Favourite Tracks: Lovefool

Digging into to Lorde's "Melodrama" was an intriguing detour for me, given my typical lean towards genres outside of mainstream pop. However, there's no ignoring the album's compelling quality—it's exceptionally catchy, with hooks and melodies that linger long after the music stops. While I might not find myself spiralling into the depths of obsession that I reserve my musical heroes, "Melodrama" has secured a spot in my library. Among the tracks, a few stand out as personal anthems I've happily looped on repeat. "Sober," "The Louvre," and "Perfect Places" emerge as the crowning jewels of the album for me. That's not to say the album is without its skips—"Writer In The Dark," for instance, grates on my nerves in a way that reminds me that no artist, not even my favourites, is capable of producing an album where I adore every single track. And that's perfectly fine. It's this mix of hits and misses that personalizes the listening experience, reminding me of the subjective nature of music appreciation. Favourite Tracks: Sober, The Louvre, Perfect Places

Venturing into Tom Waits' "Swordfishtrombones," I was aware of the frequent parallels drawn between Waits and another favourite of mine—Nick Cave. While I can appreciate the raw storytelling that Waits brings to his music, I found myself yearning for more melody within the compositions. The album presents a challenging listen. Waits' approach, particularly on this album, leans heavily into spoken word territories. While undeniably unique, it often strays too far from the melodic path that I find most engaging. It's in the slower, more stripped-back piano tracks where I find a stronger connection to his music. These moments align more closely with my tastes. Favourite Tracks: Johnsburg Illinois, Soldier's Things, Rainbirds

Venturing into the dark and heavy realms of Black Sabbath's self-titled debut album has been an experience that, quite frankly, didn't quite resonate with me. I found the tracks on this album melded into one another, making it challenging to distinguish them or find that hook that pulls me in. There wasn't a moment or a song that leaped out, demanding my attention or leaving a lasting impression. There were instances where the instrumentals shone, offering glimpses into the talent that has made Black Sabbath iconic. Ozzy Osbourne's vocals were, for lack of a better word, okay. They fit the mood and tone of the album well, even if they didn't particularly stand out to me. It's clear that this album carved new paths in the rock genre, introducing elements that were revolutionary at the time. This appreciation, however, comes more from a place of respect for its historical significance rather than a personal affinity for the music itself. Favourite Tracks: Black Sabbath

As a Radiohead fan, my relationship with their music is one of deep admiration, punctuated by moments of sheer awe at their brilliance. I love Thom Yorke's distinctive vocals, though I'll be the first to admit that delving into their music requires a certain frame of mind—a readiness to be immersed in their complex emotional and musical layers. "Amnesiac," while a notable entry in Radiohead's discography, doesn't quite ascend to the top of my list of favourite albums from the band. That's not to say "Amnesiac" is devoid of gems. "Pyramid Song" and "I Might Be Wrong" shine brightly. Those tracks serve as reminders of why Radiohead holds a special place in my heart, even if this particular album doesn't quite capture the entirety of my admiration like some of their other works. Interestingly, my affinity for Radiohead isn't anchored to the widely acclaimed "OK Computer"—an album many fans and critics regard as their magnum opus. To me, Radiohead's brilliance doesn't cluster around just one album; their most captivating tracks are scattered throughout all of their albums. Favourite Tracks: Pyramid Song, I Might Be Wrong

Diving into The Black Crowes' "Shake Your Money Maker," I was immediately struck by vocals. The lead singer grabs your attention from the get-go. The album undeniably rocks, and the band's energy is evident. However, I found myself craving more variation in the musical storytelling. The tracks have a tendency to unveil themselves early on, with the intensity dialed up from the start and maintained throughout, leaving little room for surprise within the songs. This relentless intensity quickly becomes predictable and ultimately makes "Shake Your Money Maker" feel one-dimensional. For me, the true magic in music comes from the journey it takes you on, the anticipation of a crescendo, and the satisfaction of dynamic shifts that play out like a story. I long for those moments of build-up, where each song has its own unique ebb and flow, inviting me to listen again and again, making each listen a discovery of something new, leading to a deeper, more emotionally rewarding experience. Favourite Tracks: Hard To Handle

I found myself navigating through "Vulgar Display of Power" by Pantera with a sense of indifference. The relentless aggression and uniformity of the tracks up until "This Love" left little room for the dynamic shifts and melodic elements I gravitate towards. Then came "This Love," a track that broke the mold with its unexpected melody and variation in intensity, offering a glimpse into a different facet of Pantera. It was a refreshing surprise, lifting the album from its aggression to reveal layers I hadn't anticipated. However, this newfound appreciation was short-lived, as the album quickly reverted to its earlier tone, prolonging my wait for another standout moment until the final track, "Hollow." The first half of "Hollow" resonated with me deeply, embodying the kind of song that has the potential to secure a spot in my regular listening rotation. Its blend of melody, emotion, and complexity was a stark contrast to the album's predominant style, showcasing what could have been if the rest of the album followed suit. While "This Love" and "Hollow" offered a brief respite, they weren't enough to elevate my overall impression of the album. If only there were more moments like these, my rating would undoubtedly be higher. As it stands, the challenge of finding enjoyment in the majority of the album's tracks, outside of those two exceptions, means my listening journey with "Vulgar Display of Power" is likely to be a rare venture. Favourite Tracks: This Love, Hollow

Lately, it feels as though I've been wandering through a desert of 2-star albums. It has left me yearning for something to quench my thirst for musical creativity and depth. "A Short Album About Love" by The Divine Comedy appeared as an oasis in this landscape, offering a refreshingly unique sound that I wasn't at all prepared for upon my first listen. The album's distinctiveness caught me off guard, prompting not one, not two, but three successive playthroughs to fully immerse myself in it. The Divine Comedy is undeniably niche, blending quirky lyrics with compositions that stand out from the mainstream offerings. The lyrics, while unusual, have a wit and charm that is amusing. As for the lead singer's voice, it certainly made an impression. His vocal quality occasionally brought Morrissey to mind, yet there was something uniquely compelling about his delivery that stood out on its own. Calling this album "stunning" might seem like high praise, yet it feels wholly appropriate given the experience it provides. "A Short Album About Love" isn't just a collection of songs; it's a journey that surprises, delights, and challenges its listeners. While its distinct sound and unconventional lyrics might not cater to everyone's tastes, for those willing to dive into its depths, the album proves to be a rich, rewarding experience. Favourite Tracks: In Pursuit of Happiness, Everybody Knows (Except You)

Diving into The Jam's "All Mod Cons" felt like stepping into a realm of music that I feel I should have been drawn to, yet the reality was quite the opposite. Despite the hype and cult following that this band has garnered over the years, I found myself struggling to connect with their sound. Perhaps it's a disconnect with punk music as a whole on my part—I've noticed a pattern where it rarely captivates me, often leaving me feeling disengaged. Most of the tracks seemed to merge into one mass, lacking the distinctiveness I crave in music. That said, "English Rose" emerged as a delightful exception, offering a moment of unexpected beauty and a break from the uniformity, standing out as a genuine highlight of the album. "Mr. Clean" and "Fly" also offered something a bit different from the rest, providing slight deviations from the album's sound. However, these tracks weren't enough to elevate my overall impression of the album beyond a modest 2-star rating. The scarcity of engaging melodies and the sameness of much of the album makes it hard for me to imagine a future in which this album will suddenly resonate with me. While I believe that some music can indeed grow on you over time, revealing its depths and nuances upon repeated listens, I just can't foresee that happening with "All Mod Cons." My experience with music has taught me that there's usually an immediate hint of potential connection, a spark, even if faint—and unfortunately, I didn't find that spark here. Favourite Tracks: Mr. Clean, English Rose, Fly

Venturing into "Lost Souls" by Doves was an intriguing experience, especially since I hadn't come across this band before. It's somewhat surprising considering my familiarity with the music scene of their era, notably around the time when bands like Coldplay began capturing widespread attention. It's easy to see some parallels between the two bands in their sound, yet Doves seems to have flown under the radar in comparison. The album itself was quite a decent listen. While it didn’t particularly wow me, it wasn’t disappointing either. It sits comfortably in that middle ground where you’re content with the music, but it doesn’t necessarily ignite a passionate response. However, there were a couple of standout tracks that I found myself genuinely enjoying. "Catch The Sun" has an engaging vibe that makes it quite replayable, and "The Man Who Told Everything" struck a deeper chord with me. There’s something about the latter that resonates more profoundly—this track alone makes me curious enough to delve a bit more into Doves' discography. Overall, "Lost Souls" comes across as a solid album with moments that hint at more beneath the surface. Favourite Tracks: Here It Comes, Catch The Sun, The Man Who Told Everything

Facing the album "Superfuzz Bigmuff" by Mudhoney, I approached with trepidation, particularly after the album cover—a jumble of dirty hair, odd limbs, and jarring typography—left me feeling a bit queasy. Anticipating what awaited me musically, I wondered if the visuals were a precursor to the sound. Labelled as "pioneers" of the grunge movement, Mudhoney is often credited with laying down the foundation before bands like Nirvana catapulted the genre to global fame. However, having a pioneering status doesn't necessarily equate to a pleasurable listening experience. This album, frankly, was a struggle to get through. It evoked memories of the high school band led by that tone-deaf kid who never quite found the right pitch or rhythm. The whole thing felt rough, unpolished, and almost amateurish in its execution. Compounding the challenge was the album's daunting length: 32 tracks spanning nearly two and a half hours. It's rare to encounter an album so lengthy, and in this case, the sheer volume of music felt more like an endurance test than a listening pleasure. Halfway through, I discovered that the latter part of the album was composed of live tracks. Given my experience with the first half, I opted to skip these, grateful for the reprieve. Favourite Tracks: None

Aerosmith's "Pump" delivers on the straightforward rock formula that has earned Aerosmith their massive following. I often regard them as quintessential "basic" rock music—a genre that, while undeniably entertaining for some, rarely ventures beyond the surface in terms of musical depth or complexity. This album, for me, encapsulates a sound tailored to captivate those with a penchant for quick musical fixes rather than those in search of a deeper emotional experience. Steven Tyler's vocal style—often more of a shout than a melody—dominates the tracks, with a relentless intensity that soon becomes predictable. This repetitiveness lends the music a one-dimensional quality. Aside from "Janie's Got A Gun," which is by far the best track, the album largely confirms my reservations about the band's approach to rock music—high energy, certainly, but lacking in depth and variety. Favourite Tracks: Janie's Got A Gun

There's just something about Talking Heads. There’s a coolness factor to them that’s hard to put into words—they're quirky, they're unconventional, and yes, their music is weird. The overall vibe of "Talking Heads: 77" is offbeat and unconventional, which, while initially may seem jarring, also gives it a certain edge that’s hard to ignore. While the album as a whole hasn’t completely won me over yet, it’s clear that there’s potential lurking within its tracks. Some songs have already begun to stand out with their catchy rhythms and clever lyrics. It feels like "Talking Heads: 77" is an album that needs a bit more time to truly grow on me, to fully appreciate the layers and nuances of what at first might only seem weird. In essence, the cool factor of David Byrne and the band adds an undeniable appeal, nudging my overall impression of the album into more favorable territory. There’s definitely something compelling here, amidst the initial strangeness, and I’m intrigued enough to keep listening. Favourite Tracks: Uh-Oh Love Comes to Town, Psycho Killer

Diving into Creedence Clearwater Revival's "Cosmo's Factory," I found myself confronting a classic album that, despite its celebrated status, didn't quite resonate with me. There wasn't much about "Cosmo's Factory" that stirred any strong feelings in me—it didn't leave me disliking it intensely enough to consider it a 1-star experience, but rather, it left me indifferent. It's a situation where the familiarity of the album's structure and its predictability didn't capture my interest. I tend to lean towards music that surprises me, that shifts dynamically and keeps me guessing, and this album, with its traditional, well-trodden paths, didn't deliver that. The album's country vibes also likely contributed to the disconnect, as I've never been particularly drawn to the country genre. The track "I Heard It Through The Grapevine" is perhaps the only song that stood out to me, primarily because of its familiarity from countless plays on the radio. It's a song that, while iconic, also encapsulates my struggle with the album—it's familiar to the point of predictability. Favourite Tracks: I Heard It Through The Grapevine

Franz Ferdinand's self-titled album brings with it a reputation as one of the more respected works from the past two decades, but it has never managed to strike a chord with me. As I listened through the album, I sensed an expectation that the tracks are supposed to be super catchy—unfortunately, the songs fell short of being genuinely enjoyable or catchy to my ears. There's an evident ambition in their music to channel some of the quirkiness and cool factor of bands like Talking Heads, yet Franz Ferdinand doesn’t quite reach the heights of innovation that make Talking Heads a standout. Instead, the album often felt dominated by a repetitive beat in the background—a constant presence that started to grate on me rather than groove with me. It’s this element of their sound that I find more annoying than captivating, leaving the tracks feeling monotonous and underwhelming. While I can appreciate the band's place in modern rock history and understand the appeal they might hold for others, for me, the album doesn't deliver the sound I was hoping for. Favourite Tracks: Auf Achse

Listening to Sepultura's "Roots" was, for me, a grueling experience that left me more exhausted than exhilarated. This album and I did not mesh well, to the point where I found myself compelled to give it a 1-star rating. While I acknowledge and respect the collaboration with Mike Patton, whom I deeply admire for his work with Faith No More and Mr. Bungle, his contribution couldn't sway my overall impression. Patton has an exceptional ability to bring light and shade to his projects, creating a rich, dynamic musical landscape. Unfortunately, the elements that make his other projects stand out—variety, depth, and innovation—seemed notably absent in "Roots." The album predominantly showcases a relentless intensity that lacks the musical diversity I cherish. While I can see how "Roots" might appeal to fans of heavier, more aggressive metal, for someone like me who thrives on variety and nuance in music, this album felt overwhelmingly one-dimensional. The traditional Brazilian elements, while interesting, were not enough to salvage the overall listening experience for me. Favourite Tracks: None

Kate Bush's "The Dreaming" is a bit of an enigma on the first listen. Albums with this level of complexity often require a second or third listen to fully appreciate their depth. I have a deep appreciation for Kate Bush, particularly because she's a significant influence on one of my favorite artists, Tori Amos. The similarities in their vocal tonality are evident, yet Kate's musical style in "The Dreaming" draws a closer parallel to Björk's experimental and eclectic sound. There's a quirky, almost otherworldly quality to this album that reminds me distinctly of Björk’s work. Tori Amos’s music tends to be more straightforward and emotionally direct, which resonates with me on a more personal level. While I admire Kate for pushing boundaries and creating something truly unique, there are moments on "The Dreaming" where it feels like she might be trying too hard to be kooky—parts of the album feel more forced than naturally eccentric. This can sometimes overshadow the raw talent and genuine creativity that is clearly there. Favourite Tracks: Night Of The Swallow, All The Love

Diving into "L'Eau Rouge" by The Young Gods sadly left little in the way of a lasting impression. It's one of those experiences where, I anticipate that by tomorrow morning, I’ll struggle to recall either the band's name or the album's title. While some of the instrumentation had moments that caught my ear, suggesting a layer of complexity and craft worth noting, the songs as a whole failed to be memorable or engaging. There was a disconnect for me in how the pieces came together—or rather, didn't. The songs didn't seem to make sense, leaving me more puzzled than pleased as I listened. I want to make it clear that my lack of connection with the album isn't due to the language barrier. I've been moved by plenty of music sung in languages I don’t speak, finding beauty and emotion in the melodies and rhythms that transcend words. Unfortunately, that wasn’t the case with "L'Eau Rouge." Favourite Tracks: None