Krautrock is an explicit influence on many of my favorite artists, and I can clearly hear that some of that influence comes from Tago Mago. The sonic collage Can weave in each song draws you in and keeps you engaged. The groove of Oh Yeah is clearly an inspiration for KGATLW while the synth/rock interplay and vocals tells me Thom Yorke was a devotee as well. At the same time, the influences on Can are apparent. None more so than the blues guitar playing of someone like B. B. King. The extended groove in Halleluhwah was a delicious start to a bonkers song. And that bass line: tasty. Aumgn sounds like the score to an Italian art house horror film, in the best way. O Peking was a strange, off-putting song with some great moments. Bring Me Coffee or Tea is an excellent parting song, displaying much of the freewheeling sensibilities of the band but hewing more to traditional bluesy rock. I am left satisfied but wanting to return to the weirdness in the meat of the record.

RIP to the Prince of Darkness. Paranoid has some of the most iconic Sabbath songs. Tony Iommi’s exceptional riffs, Geezer’s great bass playing, and Ward’s driving drums have come together a bit from the debut. The vocal delivery from Ozzy is the biggest improvement from their self-titled.

Cube has a very aggressive flow and lyricism, which is in-line with the gangster style at the time. It Was A Good Day is one of the best songs ever recorded. Love the instrumentals on Dirty Mack.

Schools Out is a classic. Gutter Cats vs the Jets has some very surprising synth, and the frantic bass of Street Fight is great leading into the very jazzy Blue Turk.

Small Talk has the most mid-80’s sound I think I’ve ever heard. The synths and the vocals work really well together and evoke MJ. Overall a decently fun, 80’s romp without too much to really move the needle.

Very upbeat instrumentals. Particular standout: Got My Mojo Working

Love the synth on Goodbye Blue Sky and the bass on Another Brick in the Wall Pt. 1.

Love the sax on Dirty Boys. Overall very interesting piece from the tail end of Bowie’s life.

Very fun songs, especially Victoria. Love the instrumentals across the record.

Some very fun upbeat songs, especially the title track.

Nostalgia. Cry Me a River and Rock Your Body were classics. (Oh No) What You Got is also a very fun little song.

Strong start with Southern Point, Two Weeks, and All We Ask. But drops off in the middle for me. While You Wait for the Others is a highlight.

Classic metal. Love to hear the simpler structure and emphasis on vocals. Breaking the Law is an all time classic metal song.

Little too samey for me. Might be hard for me to be objective given later releases.

Love the vibe of the album. Some great riffs, with some nice changes of pace like Laguna Sunrise.

First time listening to bossa nova, but a very fun and fluid genre. Girl from Ipanema is a classic that even I had already heard.

Not my favorite. Some good moments in certain songs but overall not my vibe.

Schools Out is a classic. Gutter Cats vs the Jets has some very surprising synth, and the frantic bass of Street Fight is great leading into the very jazzy Blue Turk.

Interesting early rap beats and bars. Acknowledge Your Own History has interesting lyrics.

Cube has a very aggressive flow and lyricism, which is in-line with the gangster style at the time. It Was A Good Day is one of the best songs ever recorded. Love the instrumentals on Dirty Mack.

Love the use of synths and David Lee Roth is a great rock vocalist. Jump into Panama is a phenomenal 1-2 punch. Hot for Teacher has one of the best intros of all time.

The bluesy guitar and bass is incredibly interesting to listen to. The vocals and lyrics are less consistently interesting, but there are some stand outs. The middle trio of Beer Drinkers & Hell Raisers, Master of Sparks, and Hot, Blue and Righteous is quite a compelling sequence.

A fantastically fascinating snapshot of the 80’s. The instrumentation feels cohesive across the record, but also very different and adventurous between songs. Multiple all-time classics (Shout, Everybody Wants to Rule the World, Head Over Heels/Broken) to sing along too.

Got some fun old school beats. Overall though, not my favorite. Did like Me, Myself, and I quite a bit.

Classic singer-songwriter record. Lyrics are insightful and interesting, melodies are enjoyable. California and A Case of You are particular standouts.

Very fun record, different than my usual listening habits.

Love the off the wall instrumentation. Portuguese is a beautiful language, I love hearing it on Brazilian tracks.

As is often true with New Wave, I love the bass and guitar. Hungry Like The Wolf is a classic, but this album has more to offer than just that. My Own Way is great fun, and Hold Back the Rain has a very catchy hook. Not a huge fan of The Chauffeur, but love the flute solo.

Clever and pleasant instrumentation. Lovesong is a brilliant song, and Pictures of You had an enjoyable bass line and melody. Fascination Street has a great, punchy bass line and nice overlapping synths during the bridge.

Vocals are exceptional. Love the eccentricity of the synths and instrumentals. The organ in the back of Its a Fire is a welcome surprise. Sampling Isaac Hayes on Glory Box was very nicely done.

Very, very ‘80s. Tainted Love is a classic for a reason. The synths, sax, and flute play nicely together. Lyrics are sometimes very good, often not. The drum machine on Bedsitter is super funky and unique.

Cornell is an extremely talented vocalist, and some of the guitar and bass riffs are nice and meaty. However, the lyrics and general song structure don’t have much variety. Black Hole Sun and Spoonman are both great, classic tracks.

Very synthy with some nice bass lines. Lyrics and vocals are very 70s. Feel some similarities to Bowie’s Berlin trilogy, but I don’t feel the same heart (soul?) in these.

Steel guitar licks are fun and funky. Overall instrumentation is subdued but pleasant. Marley has great vocal intonation. Stir It Up is a highlight.

Instrumentals are good, vocals and lyrics are quite beautiful. Baba O’Reilly is my favorite song by The Who, and Bargain is an excellent follow up track. Ending with Behind Blue Eyes and Won’t Get Fooled Again leaves you haunted.

Zombie was a very upbeat, groovy song. I especially love the keyboard towards the end and the sax at the end. Mr. Follow Follow had some catchy runs and lyrics, but a step down from Zombie for me. Love the percussion and saxophone on Observation is No Crime.

Interesting instrumentation but very mixed lyrics and vocal delivery. Did not care much for Grasa, but That’s Really Super, Supergirl was a fun 80’s pop song. Earn Enough For Us feels 10 years ahead of its time. The Man Who Sailed Around His Soul was very surprising, but quite enjoyable. Dear God has a fun pattern and catchy tune.

Lyrics are still very poignant by and large. Instrumentation maintains a very rapid, unceasing urgency. Especially love the drums and bass on Drug Me.

Voodoo Chile has some really great moments, but it gets away from itself and is far too long. The fuzzy guitar and psychedelic licks with the Beatles-esque vocals and lyrics on Little Miss Strange was a great palate cleanser. Almost Bowie-esque vocals on the 1983. All Along the Watchtower is a 10/10 song.

Sure Shot should be a more remember song. The jazzy sample on Root Down with the shrill delivery of childish lyrics is Beastie Boys to a T. Sabotage is an absolute classic, and one of their best. Get It Together has a very old school, even in the 90s, flow and beat. Add a Q-Tip feature on top and you have a really great time. I feel like The Update presages Zack De La Roche’s vocals. Plus it has some funky percussion. Heart Attack Man is a straight up punk song, and I’m here for it.

Title track is an awesome jam with some great vocals and instrumentation. Would not be out of place in a Persona game, in a good way. Love the sac on both My Girl and Rodeo Drive. The latter of which exemplifies the glamor and excess of the fabled Hollywood Mecca of high fashion. The guitar on Carnival of the Night is very rangy, and has a nice piano/keyboard accompaniment.

Spellbound was a great opener. Very upbeat and it has a great vocal hook. Arabian Nights has a very enticing baseline and some Phil Collins-esque drumming. The frenetic instrumentation and distinctive vocals make this a very enjoyable record.

The beats are groovy and fun, the vocal delivery is interesting and keeps interest, but the lyrics are far from my favorite. I’m That Type of N***a has a call and response format that reminds me of campfire songs (Roll call, etc). Very cool old-school hip hop track filled with boast and swagger. Passin’ Me By is a top tier classic hip hop song.

Has good moments - vocals, lyrics, instrumentals. Papa Was a Rolling Stone stands out. Clearly an album that has been sampled heavily, many of the riffs were familiar. But overall it doesn’t grab me.

Her voice is very pleasing and carries some real power within it. Song structure provides a good platform for her lyrics and vocals to shine. The Whores Hustle and the Hustlers Who’re has a great grittiness. The Mess We’re In makes great use of Thom Yorke’s vocals contrasting Harvey and is the highlight for me. For all its strengths, feels very “Y2K” for a number of reasons: lyrics, vocals, and production.

Very 80’s with the synths and melodies, very Depeche Mode for the vocals and the percussion. First two songs don’t do it for me, but Strangelove picks up the pace with the interesting synths. Slows back down again until Behind the Wheel, which I also like.

Love the pace of the drums and bass, provides a great energy to the songs. Can really see why the band is held in such high regard. Powerful lyrics delivered well with a great energy.

Singer has clear similarities to Bowie. Instrumentation and synths are very 90’s, in a good way. Colin People is a fantastic, classic song. I Spy has a very satisfying build through the narrative and production. It reminds me of At The Drive In or The Mars Volta.Live Bed Show could be a track straight from Ziggy Stardust.

Disco bass lines are some of my favorite. Opening two tracks are nice and groovy, while Somebody Loves Me slows it down for a nice love song. We Are Family is a wonderful, classic disco song. Catchy chorus, great instrumentation, powerful vocals, it has the works.

Title track has a pleasing guitar and bass interplay, with some interesting synths and other stuff over it. Quite a fun and groovy song. Some instrumenting segments of instrumentals and vocals throughout, but doesn’t really grab me. Night Train definitely does something fun and funky with the synths and the bass line.

The vibraphone is a fun, laid-back addition that I was not previously experienced with. Vocally quite impressive, and some nice poetic lyrics on top. Buzzin’ Fly especially has a nice idea that is well executed, making for a very cohesive and satisfying track. Gypsy Woman is a whole journey in itself, with a slow build to a frantic end. Love the simplicity of the drums throughout.

Cecilia Ann starts the album off nicely. Is She Weird is very clearly a precursor to grunge. Did For Fire has some clear Talking Heads influence.

You Are The Sunshine of My Life is a very upbeat, beautiful start. Maybe Your Baby transitions nicely with that funky bass. You And I shows off Stevie’s vocal chops in a brilliant manner. You’ve Got It Bad Girl shows off the synths well, nicely meshing with the vocals and instrumentals. Superstition is a perfect, groovy song. Big Brother has a surprisingly political message, but a poignant one. The closing track has those very satisfying characteristic Moog sounds.

Bookends Theme was not what I expected of Simon and Garfunkel, with some loud percussions and synths. But it was a good way to start the album. America is a nice folksy change of pace, with Faking It a nice upbeat and catchy song as well. Punky’s Dilemma is delightfully weird. Mrs. Robinson is a classic. A Hazy Shade of Winter has a very satisfying composition of the bass, drums, and guitar.

Detroit Rock City, despite the long lead in, is a great Kiss song: fun riffs, decent vocals with catchy lyrics, and a minute too long. King of the Night Time World was too soft and poppy for my tastes. God of Thunder has another fun riff and decent lyrics, with the deeper Gene Simmons delivery a nice change of pace. Great Expectations and Flaming Youth both have fairly fun instrumentals, but both are let down by very juvenile lyrics. I appreciate the change of pace of Beth, but I didn’t care for the vocal delivery and felt it contrasted with the attempt at a slow, lovey song.

Album starts off on a good note, with both Nothin’ To Hide and Nature’s Way well written songs with fun instrumentation and some nice vocal harmonies. Love Has Found A Way has some fun synths under a pleasant vocal track with fairly uninspired lyrics. Nice ton of interesting sounds and experimentation in the middle (Mr. Skin to Street Worm) makes the album keep my attention.

Love the old school, fuzzy distortion of the guitar. Summertime Blues was a great intro song, setting the pace for what is to come. Rock Me Baby ups the intensity and cathartically releases it with the drum solo at the end. Second Time Around puts a nice bow on the album, with a similarly impressive drum solo midway through. Excellent piece of metal history, the influences and similarity to Sabbath is apparent.

Pivotal grunge album. Great synthesis of the bass, guitar, and drums with the standout vocals of Vedder. Even Flow is a perfectly emblematic song, which is a classic for a reason. Alive, another classic in its own right, follows and shows the slower, ballad-esque tendencies of grunge. Love the bass line and Vedder’s more growly delivery on Why Go. Like most grunge, for me it overstays its welcome a bit at the back side of the record.

There’s a reason the first four tracks are super well known, they are an excellent way to start the album. The guitar on Eruption and continuing into You Really Got Me is excellent. Love the frenetic energy, particularly the kick drum, on I’m The One. The guitar and drum sections sound very familial, but that speaks to the impact of this record on future musicians.

Small Talk has the most mid-80’s sound I think I’ve ever heard. The synths and the vocals work really well together and evoke MJ. Overall a decently fun, 80’s romp without too much to really move the needle.

Respect the skill of the instrumentation. Vocal performances and songwriting are very throwback country and bluegrass jams. Unfortunately just doesn’t really resonate with me.

Grunge-inspired, but not so much to date it terribly. Vocals are very powerful and filled with raw emotion, suiting the instruments that are typically more associated with a somber male vocalist. Man-Sized Sextet has an almost horror movie dissonance and buildup.

From the jump he creates an interesting atmosphere of slightly dark and brooding folk. Instrumentals are sparse but impactful.

Easy listening blues-rock. Decent production. The instruments come into frame at the right time to add to the song, which I live. Vocal delivery is authentic, but not particularly great. Song writing is a plus, with songs nicely balanced to not settle into a rut. Cut Across Shorty is a classic western and bluegrass ballad about love.

Nicely produced, well played, and well written songs. Vocals are pretty good as well. Unfortunately the songs don’t do very much for me.

Willie’s vocal delivery is much better than I anticipated. Lyrically he tells a story with the best of them. Instrumentation provides a nice clear platform for the lyrics without ever standing out too much.

Incredibly powerful vocal delivery. Some very personal and introspective song writing. Instrumental backing is varied and suits the song. In My Bed stands out, with a trip hop line sounds under a stand out vocal performance.

Neil Young is often credited for his song writing, and that complement is warranted on Harvest. The opener and title track start the project on the right foot. Heart of Gold is the first standout moment, and nostalgic for me and my short attempt to learn guitar. Leaving the guitar-forward song to the piano-forward Are You Ready For the Country is a nice moment of transition. Old Man is an oft-covered ballad, but Young’s original is hard to beat.

Competent but unremarkable blues rock. The piano and organ (?) stand out from the guitar and drums in a pleasant way.

Turns the baroque pop of Pet Sounds up to twelve. Wilson’s vocals suit the vibe and the lyrics. Love the interpolation of You Are My Sunshine, but comes a bit out of nowhere. Cabin Essence is a great song that shows Brian Wilson in microcosm. Vega-Tables is a very strange, but on-brand song with a catchy melody and some off-putting vocal tracks.

Big Boi is criminally underrated within Outkast and solo, and this is a great showcase of his talent. The production and sampling gives a very good, fun base for some very talented vocal delivery and lyrics. Tomb of the Boom is the classic, but I loved Bowtie and Bust (with a great Killer Mike verse). Like any good 3Stacks record should be, The Love Below is delightfully strange and eclectic. A mix of beats from jazzy to simple drum machine loops and an equally varied array of vocal deliveries and flows keep the listener from settling into a pattern at the beginning of the record. Hey Ya and Roses are the classics from Andre, and for good reason.

Jack White is probably the last “rock star” and albums like this and Get Behind Me Satan show any. The opening riff of Seven Nation Army is up there with the most recognizable in music history. Across the whole project it sounds like Jack White is strangling his guitar to get it to produce the heavily distorted, feedback screams. Meg White uses the crash cymbal with wanton abandon, a delightfully strange choice. I love the piano and especially the riffing on the steel guitar in I Want To Be The Boy To Warm Your Mother’s Heart.

Lana’s voice and the instrumentation create a very lush sound over which she expresses some very deep lyrics. Let Me Love You Like A Woman is an early standout. I like the variety in vocal delivery and the different, but related, topics of each song. Not All Who Wander Are Lost speaks to a sense of wanderlust and not conforming to someone else’s idea of you, while Breaking Up Slowly is not a breakup song but a song about breaking up when a relationship is not healthy anymore.

The vocals are frustratingly low in the mid. Production is very off its tone, but not unpleasant. Despite the mix, her voice is excellent. Songwriting is top notch. Between A Man And A Woman is the standout for me.

Vocals are very impressive. The synths and keyboard create a very enticing, dark, and mysterious environment. Obviously the title track is by far the most famous, but the rest of the album is worth listening. I Could Give You (A Mirror) has the fun repeating synth riff. This Is The House has a meaty bass line and some delightfully strange lyrics. Is that a Theramin on Somebody Told Me?

Drake’s breathy vocals are immediately enticing. Song writing is top notch, and the instrumental backing provides a nice platform for the vocals but it also has some intrigue of its own. River Man was a very interesting narrative with a catchy hook. The flute on Thoughts of Mary Jane was excellent and the double bass on Man In A Shed keeps the song grooving along.

The songwriting is unsurprisingly very good, with some very satisfying folk guitar and harmonica backing. Vocal delivery is not my favorite but more tolerable than Blonde on Blonde. The vivid storytelling on A Hard Rain’s A-Gonna Fall and Girl From The North Country are beautiful.

Krautrock is an explicit influence on many of my favorite artists, and I can clearly hear that some of that influence comes from Tago Mago. The sonic collage Can weave in each song draws you in and keeps you engaged. The groove of Oh Yeah is clearly an inspiration for KGATLW while the synth/rock interplay and vocals tells me Thom Yorke was a devotee as well. At the same time, the influences on Can are apparent. None more so than the blues guitar playing of someone like B. B. King. The extended groove in Halleluhwah was a delicious start to a bonkers song. And that bass line: tasty. Aumgn sounds like the score to an Italian art house horror film, in the best way. O Peking was a strange, off-putting song with some great moments. Bring Me Coffee or Tea is an excellent parting song, displaying much of the freewheeling sensibilities of the band but hewing more to traditional bluesy rock. I am left satisfied but wanting to return to the weirdness in the meat of the record.

This is quite different than the scant exposure I have to Kings of Leon through the songs that went mainstream. Right off the bat this starts with some nice bluesy rock n roll guitar licks and frantic vocals. The layers of guitar on Joe’s head are full of depth and very pleasing. The cowbell into the opening guitar riff on California Waiting immediately made me smile, and the cymbal-heavy drumming through the chorus kept the vibe going strong.

Europe Endless had a very upbeat and quick tempo beat, which made for a joyous song that it was hard to sit still for. Hall of Mirrors has a much slower, more contemplative sound. And the repeating “riff” coming in and out sounds like a background instrument from an old sci-fi set. The production is intentionally sparse, leaving lots of aural negative space for the listener to float into. I wanted to like it more than I did, but I had a hard time not letting my mind wander.

Classic, incredible prog masterpiece. 21st Century Schizoid Man is one of my favorite songs of all time. The guitar and bass with together so well. The transition to I Talk To The Wind is quite jarring, ditching the jazzy maximalism of the opener for a very mellow, folksy song headlined by the flute of Ian McDonald. Epitaph and Moonchild are excellent songs in their own right, but they end up being slightly overlooked between the two opening songs and the title track.

Ambitious, strange, and very well made. As far as concept albums go, the concept is pretty tame by modern standards. But as a lover of concept albums, I have to respect the doors that this album opened. The songs all, surprising for a Beatles record, have tight songwriting. Instrumentation, as always, is light in most cases, poppy, and well executed.

I’m always down for a steel guitar in a rock song, and this delivers in spades. Has some great moments of both instrumentation and vocal performance. But overall I found my mind unable to stay focused on the track.

One of my favorite things about this project is finding albums like this, where you can hear the sonic influence it had on later albums or artists. The flow from Motörhead to Venom to trash and speed metal is very interesting and satisfying. Also, thinking about this album being unbelievably heavy when it came out but the black metal it would spawn just a few years later makes it look quaint. Nice riffs, good vocal delivery, some good lyrics and some not so good lyrics (Teacher’s Pet).

I’m not familiar with earlier Velvet Underground so the radical departure is lost on me, but this a fairly enjoyable 60’s/70’s light but still introspective album. I especially love After Hours Abs I’m Set Free.

Talking Heads bring a marvelous ‘70s energy. The bass lines are nice and meaty, the synth and guitars drive the song with wacky, crazy energy, and Byrne’s vocals perfectly suit the cocktail. Found A Job is one of my favorite Talking Heads songs because of how much is going on. The big kick drums with the chorus, the frenetic solo, the strange lyrics; it all works together to create pleasant strangeness. I’m Not In Love has a great drumming performance, and I also quite like the guitar and banjo (?). The Big Country surprised me, with the bluegrass steel guitar.

This is much more disco inspired than some previous albums, and I think it suffers for it. Still have some of the Talking Heads signature sounds but I am not as gripped by the songs. The guitars create a nice contrasting yet complementary base for the songs. The bass is sometimes lost, but when distinct enough it is a nice pillar. With the benefit of historical hindsight, this is a debut album with the bones of future greatness. But they clearly expanded and improved on their sound in future releases.

The classic Maiden riffs are here, but they are not as full in the mix. The bass is, of course, excellent. Di’Anno’s vocal delivery is very different than Bruce Dickinson’s, and unfortunately I think I prefer the latter. Feels like what it is, the debut from a band who would change vocalists and find their sound later on. I could see being intrigued by this debut and eagerly awaiting the follow up in 1980.

All of the instrumentalists work very well together to create a brilliantly loud yet poppy, dark but energetic masterpiece. The rhythm section drives the songs and controls the speed-up, slow-down dynamic of the album. Vocals are excellent and unique. Kim Deal’s bass lines on the back half of the album, No. 13 Baby in particular, are exquisite.

I dig the kind of dark and stormy vibe he creates in many of the songs. The street busker/ crate drumming sample on Head Rush on Lafayette was a nice change of pace. I quite like the take on the 007 theme track. Most of the songs feel like they could be the music for levels in a retro spy game. Some of the songs feel like they should have an MC tapping over them. Almost like he made beats without finding anyone to use them.

Great example of the psychedelic and bluesy influence on the evolution of metal music. They get memed for the simplicity of Smoke on the Water but they know how to write a better song and play a more complicated riff. Pictures of Home has the great and surprising bass solo, while Never Before starts with a great bass tone.

Black Cow has a very R&B, almost Stevie Wonder-esque sound in the instrumentation and the vocal delivery (if not the vocal quality). The title track has a brilliant journey of very tight instrumentals, devolving into a fit of orgiastic chaos, and then composing itself again for the end of the song. Peg is a nice, catchy tune with a great bass line.

Her voice is, as expected, extremely powerful and impressive. The production, lyrics, and general vibe of the songs are a bit off the wall, in an enjoyable way.

RIP to the Prince of Darkness. Paranoid has some of the most iconic Sabbath songs. Tony Iommi’s exceptional riffs, Geezer’s great bass playing, and Ward’s driving drums have come together a bit from the debut. The vocal delivery from Ozzy is the biggest improvement from their self-titled.

Morrissey’s strong vocals and songwriting were hallmarks of the Smiths, and they carry through into this project. The playing is suited for the purposes of this album: good yet unlikely to draw attention away from Morrissey (with the possible exception of I Like You). The album is perfectly listenable front-to-back but begins to get a bit stale towards the end. It doesn’t say as much as urgently as his work in the Smiths.

I thought I’d like this one much more than I did. Very little in the songs felt particularly interesting. I really dislike the sound that is repeated in many of the songs, and I didn’t really hear an electric jug either. Is it that awful noise on Fire Engine? If it is I am definitely not a fan.

The first two tracks very much sound like leftover Kid A tracks. Not a big fan of Pulk/Pull Revolving Doors, not enough of a melody for me. I love the instrumentation on I Might Be Wrong. The fuzzy guitar, intriguing bass line, and especially the way the synth slowly takes it over.

Technically proficient playing, very pleasant vocal delivery, interesting songwriting. However, the length of many of the songs is a bit too short. They don’t, in my opinion, long enough to fully develop before they are over.

The bass and guitar are delightfully 80’s in the best way. I had a good time listening to each individual song but in my opinion they go for just a bit too long. Unlike many disco records, I didn’t get particularly bored during the run time.

Solid enough guitar pop music. Clearly in the same vein as britpop, which isn’t a deal breaker.

Nearly every song has a very catchy melody and often lyrics as well. The song writing is very good, with tight arrangements that don’t get carried away with themselves. I also quite like the arrangement of the the album itself.

Green Day are among the best at writing catchy rock songs, and Dookie is a five example. Billie Joe’s vocals have always been a strong point for the band, but Dirnt’s bass licks and Cool’s drum fills are criminally underrated and provide much of the impetus of the songs.

I had never heard of this band, so I’m glad to have been introduced through this project. The lyrics and vocal delivery are vey of their time, but not unpleasant by any stretch. Being shoegaze, the fuzzy guitar is a focus of many of the tracks and it doesn’t disappoint. The songwriting variety avoids the pitfall of many similar efforts, but the length of the record does the same thing: overstays its welcome. There is a very strong record to be found with some liberal edits, but it gets slightly diluted by the breadth of ideas.

On paper this is right up my alley. I love a brass and horn section in rock bands. But for the most part it doesn’t do it for me. Geno is an exception, that song rules. It has a more god only knows what wave of ska swing to the playing and melody that it l is absent in other songs. They do have some nice and catchy hooks though.

There are definitely pieces I quite like: eclectic instrumentation, variation in sonic inspiration, and some solid performances on the instruments and vocals. But many songs fall into the pop music hole of just repeating the chorus for most of the run time.