George Michael is a capable singer. Faith occasionally manages to work up some alright grooves. Ultimately, the album is unable to rise above its superficial lyrics and the rather dated production. Maybe I'm being harsh, but I'm just so tired of that vacuous 80s sound: gated reverb, wet and droopy synths, singing about nothing too important. I'd be fine with us all leaving commercial 80s production sensibilities behind for a good while.

Fantastic sound and energy! With fierce climaxes and great flow. The only song I didn't care for was the closer, a 16 minute drum solo. It's obviously great musicianship but just goes on for far too long for my tastes. The album is otherwise a wonderful listen.

Fra første sekund mangler Velvet Underground sitt tredje album den soniske eksperimenteringen til John Cale. Dette blir omtrent gjort opp for med Doug Yule sine nydelige harmonier, som står i perfekt kontrast med Lou Reeds råe stemme. Han er også en sympatisk hovedvokalist i det nydelige åpningsnummeret Candy Says. Sterling Morrison og Moe Tucker er essensielle, dog diskré. De gjør enormt mye med veldig lite, som er hele gruppens etos. Morrisons varme soloer får frem det beste i sangene. Tuckers primitive tromming gir enorm energi til råkkerne What Goes On og Beginning To See The Light. Også hennes synging på After Hours har en genuin skjørhet og uskyld. Reeds lyrikk utforsker universelle emner som kjærlighet og ensomhet. Hele hans personlighet skinner gjennom sangene, også når han gir vekk mikrofonen til andre medlemmer. Fra første til siste sang skapes skjønnhet og dybde gjennom enkle ord. Hele veien gjennom er albumet upretensiøst og engasjerende. Ikke nødvendigvis det mest sonisk banebrytende VU albumet, men alltid en fryd å høre på. Gjennom hele gruppens uendelige sjarm er dette albumet tidløst. Pluss langt kulere enn de fleste klassikere.

I love the sparse instrumentation and the gentle sound of this album. He has a very pleasant voice that blends wonderfully with his understated guitar playing. The pacing is also perfect, which sure is important for a concept album. I'm generally not a huge fan of concept albums, and country isn't my favorite genre either. Red Headed Stranger is nonetheless beautiful, cohesive, and captivating all the way through. I'm quite sure this album will grow on me. :)

Paul Simons songwriting seems to lack any kind of subtlety. His melodies and tunes are beautiful and creative, but his lyrics rarely goes above being merely servicable. There's nothing wrong with it. I've just never found anything under the surface if his lyricism. All is groovy, ba da da da da da da. The Dylan parody is insipid and, dare I say, cringe. Making Silent Night the closing song is puzzling, and makes for a very weak ending I think. Otherwise the songs were nice, with several highlights like Homeward Bound and For Emily, Whenever I May Find Her. But as the album is barely 28 minutes long the songs just come and go with too little time to make a big impression. Sometimes the production gets a bit too mawkish, but the album generally sounds good and their voices blend nicely. The wonderful harmonies may be the greatest thing about the album. All in all, Parsley, Sage, Rosemary And Thyme didn't do anything to change my view of Simon and Garfunkel as a group: nice harmonies, some great songs, very commercial, a bit milquetoast. 28. 05. 2024

That harmonica is whack

Some mighty fine music ! Yes, mighty fine indeed !

Behagelig musikk som passer fint både foran og bak i sinnet ditt :)

Nearly all of the songs sounds the same, with those bassy riffs just plodding on and on. I get that they want to sound very big, but they sound like nothing at all. The melodies are forgettable. The lyrics are trite. "Oh, my next girl, yeah / Will be nothing like my ex girl" made me lol. There is very little about Brothers that i enjoy. Predictable and safe music. It makes me think of going to the mall. I'm sure their songs have soundtracked plenty of Apple commercials.

I suppose this album would make a bigger impression on someone already familiar with Van le Man. It’s also a bit too long à mon avis. But the entire album is an amazing performance.

That coy little take on Satie effectively drew me into the atmosphere. Afterwards there's a seamless blending of genres. Flutes, horns and organ all weave in and out nicely. As soon as a motif is getting stale, they change the energy level and go somewhere else musically. The rhythm section truly shines throughout the album. I don't know the first thing about jazz, but I found the drums and the bass very engaging. The vocalist is nothing special. He didn't do much for me. And the album started to really drag on the 11 minute blues jam. It felt out of place and got a bit grating. I wasn't exactly looking for their take on Sunshine of Your Love. A weak-sauce ending on a solid album, I'll say. 07. 06. 2024

Never been a fan of rap so I'm not going to pretend my opinion on it matters. The album was fun to listen to throughout. The production is solid and "Le Cube" has good - watcha'ma'call'em - "flow". You can immediately tell that he cares about what he's talking about. The interludes are inessential in my opinion. The album is otherwise thoroughly entertaining. But I doubt much of it is going to stay with me.

Sleek and pleasant the whole way through. Most of the songs sound completely nondescript, but the tight harmonies and competent instrumentation keeps it chugging along. I'm sure the Eagles made better albums.

Creative and relentlessly groovy ! They're so much FUN to listen to ! Brian Eno's production sounds effortlessly fresh. David Byrne's voice can get a little too off-kilter sometimes, but that's alright. He more than makes up for it with his dorky personality and distinctive songwriting. Great album ! Great vibes !

A bit of a boring listening experience.

Fantastisk musikk.

Quite nice ! The opener is fantastic. I love the instrumentation and the mellow vibe which flows throughout the album. Welch has a steadfast presence. I found the songs to be enjoyable, if a bit generic. The sole exception is My First Lover, which is the most grating pile of steaming garbage I’ve heard in a long time. Some of the songs also go on too long and get a bit samey. But all in all the album is quite nice c:

Absolutely enthralling, with not a single weak track. The Downward Spiral is just as powerful and honest as ever. A dirty and cathartic masterpiece. <3

I found the first couple of songs a bit weak, but the album really got going by the time "Lovesong" and "Lullaby" blessed my ears. The album justifies its length pretty well, as there's a lot of great songs throughout the runtime. Though a few of them go on for a bit too long. But I do get what they're going for. e.g. the title track starts out as just alright, but just keeps on building and building until you can't help but get lost in the dark expanse of their beautiful soundscapes. I find that Robert Smiths voice can get a tad whiny sometimes, like on "Last Dance", but he is mostly a brilliant presence throughout the songs. I'm also not the biggest fan of that mushy, echoey 80s production, though it didn't diminish my enjoyment while listening. The beautiful sounds and the thick atmosphere they create greatly overshadow the minor gripes I have with the album. I enjoyed it very much and look forward to hearing more of their discography : )

En heftig spennende introduksjon til PJ Harvey. Jeg gleder meg til å høre mer av henne ! :)

His low voice and the lovely production makes listening to the album calming yet impactful. Callahans lyrics are engaging. My favorite song was "Too Many Birds" as it has solid guitarwork, what sounds like a nice fiddle and some particularly fabulous songwriting. I appreciate that Callahan is conveying some big themes through metaphors of animals and such, but I couldn't catch too much of it. All in all a beautiful and serene album : )

All Hail the Queen is novel and fun and funkayy. Nonetheless, it's unable to rise above the inherently dated production and style.

Great playing and some solid melodies, but I cannot stand those vocals. I also find the lyrics overwrought. Not for me, sorry :P

Det siste og mest velpolerte mesterverket fra de fabelaktige fire. Her er de på høyden av sine krefter, som mestere av studioet. Låtskrivingen er enestående. Medleyen når høydene til "A Day in the Life". Produksjonen er sublim. Gitarspillet, basslinjene, trommingen og harmoniene er alltid både elegante og mektige. Ringo og gutta bukker og takker for seg.

The only thing I knew about The Killers before listening was that time vocalist Brandon Flowers happened to be on Skavlan together with Richard Dawkins and was sort of ambushed into fiercely defending his lifelong mormon faith. Poor guy got pretty agitated. Plus I remember his stilted cover of "Got My Mind Set On You". I therefore tried hard to go into the album open minded. They've obviously got some solid hooks on some of the songs. I find the production too compressed and rather lifeless, and that filter on Flowers' vocals was ok in the beginning but started to really grate on me halfway through. The album is also extremely frontloaded, and gets progressively less interesting as it goes on. It's adequate 00s rock heavily dragged down by sterile production and lack of variety. There's just not much to it, as far as i can tell.

Tremendous playing. Absolutely lovely to listen to : )

Wonderful production and great musicianship. I especially enjoyed the drum solos and fills. Definitely an ambitious debut, however it ends up as far too self-indulgent for my taste. Few of the songs are memorable. Those horns ended up being gratuitous after a while. And I love guitars, but "Free Form Guitar" was a bit of a low point. The music felt largely meaningless in a sense.

Winehouse had a fantastic voice, and she really knows exactly how to use it on this album. She's always a lot, and never too much. The instrumentation is groovy and leaves a lot of space for her performances. The tactful pacing also makes the listening experience quite enjoyable. My favorites were the more laid back "Cherry" and "Help Yourself". I also appreciated the humor in songs like "Fuck Me Pumps". No big duds or criticisms, really. But there's similarly not much that elevates the album beyond "enjoyable".

I've never been able to enjoy Thom Yorke as a singer. There's something I despise about how he doesn't properly enunciate any consonants ever, so he just endlessly wails indecipherable vowels. It's a style of singing that seems to have gained popularity in recent years. I just cannot stand that high-pitched yowl of his. The album is otherwise ok. Some interesting electronic sounds sputter along. Endlessly vague lyrics. The occasional burst of energy in the otherwise withdrawn and limp songs. Yorke continues his irritating whine whilst I continue to miss the supposed greatness of this group.

lmao no

It's oh-kay 90s rock. I don't know, none of it tickled my ears in too spectacular a fashion. A couple of nice songs in the middle. I did appreciate what sounded very much like a Theremin in one of the songs. Also I'm not so big on Zappa, but that album title is exactly 29 years past the expiration date lol.

Solid kjøtt og poteite råkkenråll, til tross for pedofilien.

Finely produced, bordering on sterility. They have some delightful melodies in a lot of the songs. It's sort of prog lite, which I really don't mean as a negative. They aren't self indulgent and it's all pretty palatable. Though they are quite corny with the singing about school, theatre and Jimmy Cream. Plus the vocalist with the whiny voice was somewhat annoying.

God only knows why I've held off on listening to Bob Marley until now. That was so immediately lovely the whole way through. Like a buttery croissant. The production is stunning. The Wailers sound perfect. Marley is a great frontman, obviously. Much of what he's singing rings true. Listening to this left me feeling soothed and comfortable. What more could you ask for?

This is the second album of theirs I've listened to and I'm happy to say I enjoyed it a lot more than the previous one. That first run of songs is brilliant. The opener and title track is obviously a true classic. Way to open an album. A lot of beauty throughout the album. The quality dips a bit towards the end. That live Everly Brothers cover is entirely superfluous, though I do get why they included it. Their harmonies are as silky smooth as ever. However, my one eternal gripe is that Paul Simons lyrics are as subtle as the Pregerson interchange. There's nothing beyond the surface. He undoubtedly writes gorgeous grade A melodies. And a lot of the time that's enough. But sometimes the one dimensional nature of his lyrics leaves me feeling hollow. Sometimes his lyrics make me think of Olive Garden and Tom Cruise films. He's the most AMERICAN songwriter I can think of. Not in a bad way, but also kind of in a bad way. lai la lai la la lai lai la la lai lalalala lai...

As my first exposure to Neil Young, it was more drab and shapeless than I expected. The album just kind of came and went. Nothing was displeasing to the ears, thoughbeit. Maybe it's the kind of thing that grows on you. I am excited to hear how the boomer of all boomers develops on further albums.

Gorgeous stuff. Warm shimmering sounds shine gently throughout this album. Elizabeth Fraser does have a very beautiful voice, though "The Voice of God" is definitely laying it on thick lol.

I dare you to try sitting still to this !!

Fantastic singing, important themes and smooth production. A beautiful album.

Pauls Simon is to me the Spielberg of singer-songwriters, if that makes any sense. I mean that a little bit derisively. Nonetheless, this album is pleasant and well put together. I don't have too strong opinions on it either way, honestly.

Dolly is so sweet you can't help but love her. Her voice and storytelling is immediately endearing. "Coat of Many Colors" is a particularly gorgeous piece of songwriting. The backing band does its job well and I'm a sucker for that pedal steel (especially when it's Pete Drake!). The album is short and light as a feather, with next to no filler. It isn't super ambitious, but for me it becomes far more than the sum of its parts. Lovely stuff. I'm charmed.

It's alright energetic rock. I appreciate the story behind the album, but sonically it got pretty same-y and not all that interesting.

Umiddelbart så nittitalls som det går an hahah. Den late, tilbakelente holdningen deres var selvfølgelig i tidsånden. Den sære introen fikk meg på kroken, og de holdt oppmerksomheten min gjennom hele albumet. Digge gitartoner. De veksler mellom rolige låter med skjønne melodier og stilige slappe råkkere, derav er alt veldig behagelig å høre på. Bra saker altså.

Da jeg først hørte gjennom albumet en sen kveld skulle jeg opprinnelig bare høre en sang eller to før jeg la meg. Men jeg bare koste meg mer og mer for hver sang jeg hørte. Etter hvert så kom jeg bare i et så godt humør. Det sier mye om både sjarmen og evnene til de mange flinke musikerne som spiller gjennom albumet. Dette er en fenomenal feiring av dype bluegrass og køntri tradisjoner. Studiopraten som kommer innimellom utstråler sånn personlighet, og gjør mye for å plassere deg inn i det livlige studioet de koser seg i. Der er flere meget sympatiske øyeblikk, som for eksempel da Doc Watson gir et genuint kompliment til bassisten, eller da Roy Acuff forteller om at man alltid må gi alt fra første take siden litt av magien forsvinner for hvert nye forsøk. Varm og klar produksjon. Nydelig banjoklimpring og slidegitar og alt mulig annet. Albumet hadde så klart ikke trengt å være hele 130 minutter langt. Spesielt den andre halvdelen er kanskje litt for overdådig, men hele verkets råe ambisjon og gode vibber gjør absolutt opp for det. Alt i alt et mektig og koselig album.

Jeg har alltid hatet "Dancing In the Dark" og "Born In the USA" når de har spilt på radioen. Samtidig kjedelig og travle, med så streite rytmer som overhodet mulig. Ingenting på denne platen er i nærheten av like pinende. Det er ikke nødvendigvis noe galt med denne musikken. Men en smørsanger som synger at Chevyen hans venter på han utenfor seven-eleven treffer meg ikke, for å være helt ærlig. Springsteens musikk blir så komisk amerikansk som det går an. Jeg ser appellen, det blir bare helt midt på treet for min del.

Stilig nok, men her er det ikke noe særlig som skiller seg ut. Bortsett fra "Pacific 202" som var en flott sang. Jeg foretrekker Don Solaris, som de kom til å gi ut syv år senere. Skal tro om Don Solaris fikk plass på denne listen. Dette blir ihvertfall dinosaur house for mine bortskjemte ører her i 2025.

Det er noe så behagelig med å bare drukne ørene i de mørke og tjukke riffene til Iommi. De har en så naturlig og digg driv. Tilbakelent samtidig som intenst. "N.I.B." er definitivt høydepunktet. Noen av sangene mangler fokuset som man hører på de følgende albumene. Dette er langt fra den beste Sabbath platen, men det er et meget banebrytende album for det om.

Musikerene som spiller her er alle fantastisk flinke og ganske underholdende. Og en så behagelig atmosfære man får av å høre gjennom albumet. Jeg forstår også det at denne konserten var av historisk betydning. Med det sagt, så syns jeg også at dette blir altfor langdrygt. Alle introduksjonene og all klappingen gjør ikke stort for musikken. Jeg har også hatt lite eksponering til slik storbandjazz gjennom livet. Derfor gir selve tonen av alle disse blåseinstrumentene meg hverken fryd eller gammen. Jazz er kult, men dette blir litt fjernt for mine ører.

Jeg hørte på dette albumet for seksju år siden og det gjorde ikke noe særlig inntrykk. Kul åpning. De første par sekundene er på en måte høydepunktet av hele greia. Produksjonen er vel utført, dyster, minimalistisk, og desidert musikkens sterkeste side. Vokalisten er dessverre avskyelig. Når hun ikke har på det distraherende stemmefilteret så høres hun ut som den verste mulige kombinasjonen av Sia og Bjørk. Gudene vet hvorfor Svenske vokalister alltid er nødt til å uttale "do" som "doo" og "you" som "yooo". Tekstene er så vage at det bare blir helt meningsløst. Jeg kan synke litt inn i atmosfæren, men så begynner hun å synge... Albumet kunne like så godt vært instrumentalt for min del.

Tretti minutter med endimensjonal og drøv smørsang. "If" fikk meg i det minste til å trekke på smilebåndet.

Endless yapping..

Exciting, and thoroughly enjoyable the whole way through. I don't have too much to say about it. I seems like I never find much to say about PJ Harveys music. She is oh so cool and hip and alternative, as always. And the execution is superb, as always. I suppose she is a bit more commercial sounding this time around. My only gripe was the displeasure of having to hear Thom novocaine-sounding-ass Yorke on one of the songs. Oh well.

If there is one Beatles album that doesn't get its proper due in the current age, then it has to be this one. I have a suspicion that some of it is because of its particularly egregious stereo mix, which is the only available version on streaming services. It's of course also because of the albums that came out before and after this one. Please Please Me has the underdog thing going for it, with endless charm and a true live quality. A Hard Day's Night is more sonically varied, ridiculously catchy, and made up completely of Lennon/McCartney originals. With The Beatles bridges that gap perfectly. The work they did in this little period was obviously crucial to their later astronomical success, and was apparently the lasting favorite album for a lot of first generation fans. Lennon even called it "the true sound of the Beatles". To me it's very easy to hear why. The first three joints are a brilliant knockout of fantastic melodies, great vocals, and a whole lot of energy. And they keep up that energy throughout the runtime. Macca sings 'Til There Was You beautifully over some surprisingly sophisticated jazz chords. Some more highlights are their three Motown covers, during which John Lennon gives some fantastic full-throated performances. There a couple of spotty songs like Little Child, Roll Over Beethoven, and I Wanna Be Your Man (sorry Ringo) which don't do much other than keeping up that energy. Other songs like Hold Me Tight and Not A Second Time are quite enjoyable, but more forgettable in terms of songwriting. This is far from their strongest collection of songs, yet there's always something worthwhile to listen out for: the triplets on All My Loving, their passionate harmonies throughout, unassuming yet effective guitar- and drum fills, the infamous "aeolian cadence" on Not A Second Time. Its a lot of sugary fun. This sound was revolutionary at the time. And it's got such an innocent quality as well. I just never get tired of the sound of these fellas.

Relaxing yet still on the experimental side of singer-songwriter music. I do appreciate the jazzy and nonconventional elements on here. Joni is also an inventive songwriter. But I just didn't enjoy it that much. It might be because of her shrill vocals, particularly her ear-piercing falsetto combined with that incessant vibrato. Plus the occasionally experimental arrangements don't seem to serve the songs. Ultimately it doesn't come together for me ¯\_(ツ)_/¯

Grei høyoktan punk.

Dette er langt fra min smak, for å være ærlig. Jeg har aldri likt Jack Antonoff sin produksjonstil. Han gjør ofte musikken ensformig og minimalistisk på en dårlig måte. Produksjonen er vel utført og slik, men der er veldig få overraskelser. Det gjelder også for Lorde sin låtskriving her. Temaene hun synger om er meget klisjé. Hennes sangstemme er helt grei, men den konstante affekterte emosjonen blandet med moderne sprechgesang gjør lite for å overbevise meg.

George Michael is a capable singer. Faith occasionally manages to work up some alright grooves. Ultimately, the album is unable to rise above its superficial lyrics and the rather dated production. Maybe I'm being harsh, but I'm just so tired of that vacuous 80s sound: gated reverb, wet and droopy synths, singing about nothing too important. I'd be fine with us all leaving commercial 80s production sensibilities behind for a good while.

Tekstene hans er overraskende og ofte underholdende. Ellers var ikke det noe i musikken som var spesielt gripende. Ekstremt søtladene instrumentaler. Måten han synger på ble etter hvert distraherende og irriterende, spesielt på tampen av hver sang. Komisk mye vibrato.

En stram og flink pønk gruppe, med noen velkomne nyveiv og (bittelitt) rockabilly elementer. Det at de veksler mellom kvinnelig og mannlig vokalist gir fin variasjon. Jeg koste meg men syns de mistet driv mot slutten.

Klassisk råkkenråll. Han har en flott stemme. Det er gøy å høre hvor Lady Madonna kom fra. Jeg syns en del av sangene var ganske svake på akkurat denne platen, dessverre.

Denne platen har hakket mer fokus enn Everybody Knows This Is Nowhere, men langt mindre energi. Jeg liker begge to cirka like godt. Men denne var litt vel tilbakelent for min del. Det hadde gjort seg med litt mer futt mot slutten. Man får nok mer ut av musikken om man deiger seg på ei strand slik som på bildet. See The Sky About to Rain og On the Beach var pene låter. Revolution Blues var engasjerende. Resten ble litt småkjedelig. Jeg skjønner fortsatt ikke helt "greia" med Neil Young. Jeg er uansett gira på å høre hans mest anerkjente albumer.