1001 Albums Summary

I enjoyed it more than I thought I would. So much more to the album than “Purple Rain”. Loved “When Doves Cry” and “I Would Die 4 U”. Sonically different than what I expected and that was the fun of it. It was also a short and sweet album. 9 songs in 43 mins.

Wasn’t sold from the first half but the instrumental journey the second half took me on made it worthwhile for me. Really glad I listened to this album. Perfection from “Sense of Doubt” onwards. Did like some of the lyrical songs as well such as “Heroes”

Liked the spacey vibe and feel of it. Felt like I was in another world. It was relaxing yet moving. Dark and moody. Enjoyed it

Didn’t have access to the full album but enjoyed the songs I did have access to. Especially loved New York New York and loved the Message. Lyrically and sonically empowering and gave a window into the time it was

The first listen I wasn’t too into it, didn’t know what I was getting into. But the second half of the album caught my ear. Gave it another run and started to like it more. Felt like a journey of sounds. More enjoyable as a whole album than its parts. Feels cinematic, spacey, and new age

Feeling great that I already recognized the first track as one from JoJo’s outro song. Enjoyed the flamenco elements in “Mood for a Day”. Second half of the album from “Fish” down was enjoyable for me. My favourite track is still “Roundabout”

Love this album! OutKast is one of the greats. So many favourites. Childhood favourite being “Ms. Jackson”, and “So Fresh, So Clean”, and “B.O.B”. Discovered “Stankonia (Stanklove)” in my 20s and what a time that was with that track. Absolutely psychedelic and hypnotic. Probably still my favourite track to date. Been enjoying the interludes and skits, really miss when hip hop albums did that. New favourites include “We Luv Deez Hoes”, “I’ll Call B4 I Cum”, “Gangsta Sh*t”

Enjoyed the mix of funk and electric guitar. Relaxing but fun. Groovy and cool. Enjoyed it. Brought me back to flashbacks of my childhood when I heard “That Lady” for the first time in a Swiffer commercial. So many gems in this album! “Sunshine” “Summer Breeze” “The Highways of my Life” “Don’t Let Me Be Lonely Tonight” were my favourites.

Romantic, dark, and exciting. This album takes tango to a different place than I had in my mind. “Operation Tango” and “La Muerta de Angel” are my favourites at a first listen. The opening song “Milonga is Coming” was a great introduction to what’s to come. Feels like there’s a use of the xylophone a lot which I enjoy since I don’t get to hear that a lot. The accordion brings out my favourite elements of each composition too.

I knew it was going to be a good day when I was assigned this album. Perfect for the sunshine out today. Groovy, electric, soulful. Getting me right from the first track “You Are The Sunshine of My Life”. What a surprise to get to the middle of the album and recognize “Superstition”. Amazing funky track. Been enjoying the album in its entirety along the way. The ending track resonates with me a lot. His voice is undeniable. Also reading that this album involved a lot of artistic freedom makes me respect the production even more. Definitely an album I’ll keep coming back to.

The only track I heard from The Pixies was “Where is my Mind” so it was cool to explore an album from them. Found it to be a really cool rock album. Felt punky, angsty, and a bit grungy too. I read that Kurt Cobain was heavily inspired by them so it was cool to hear some of the inspiration. Favourites included “Here Comes Your Man”, “Monkey Goes to Heaven”, “Wave of Mutilation”, “La La Love You”, and “Hey”

Old school rock vibes, feels like an episode out of Supernatural. Almost as if I’m sitting in the car with Dean Winchester himself and I’m not mad about it. Love some of the jazzy accompaniments, as well as the many guitar solos. Love the catchy riffs. Great album for a road trip with the windows open on a hot breezy day.

I love me some blues. I am immediately digging this album. Mannish Boy was an amazing intro to what’s to come. Everything feels so familiar as if I’ve probably heard it in film or in passing but never actually realized who the artist was. Probably one of my favourite albums on this journey so far. As I read more on Muddy Waters I learn that this is post-war American blues. I absolutely dig it.

The arrangement and variety of instruments makes it hard not to want to move your body, dance a little, or even bop your head while tuning in. As I listen to it I imagine hosting a lavish dinner party in the 50s with lavish dishes and decor. I always romanticize this time (despite it likely being very racist). I think of a house like in Sabrina (1954), and hosting a beautiful ball with everyone in their gorgeous gowns sipping a drink in their beautiful crystal glasses. The vocals on the album fit so well. I especially love the miramba and drums. It gives a beautiful transatlantic feel. The mambo jazz and salsa work well together in this album. Enjoyed it a lot. Very relaxing yet fun. Favourites include “Hong Kong Mambo”, “Estoy Siempre Junto a Ti”, “Complicación”, “El Cayuco”, “Agua Limpia Todo”, and “Varsity Drag”

Their introduction reeled me in immediately. The energy, the solidarity, the message, wow! I was blown away. Reading into MC5 and learning that they were likely the pioneers of the early American punk rock scene in the late 60s and 70s made a lot of sense as I listened to the album. Also reading that they were heavily influenced by R&B and blues made a lot of sense with some of their bluesy, jazzy riffs especially in “Motor City Burning”. I also loved the lead singers voice over the instrumentals. Very cohesive and energizing live show performance. “I Want You Now” gives me elements of King Crimson’s “21st Century Schizoid Man” This album makes me want to jump high and low, head bang and rock out! I can only imagine the energy felt by the audience at the show. I preferred listening to the Japanese Remastered version rather than the version recommend by the generator. I found it to be a cleaner crisper sound and I could hear things more clearly but based off this edition alone it was very well done. Lyrically there doesn’t seem to be anything deep going on, but it just feels like a great time. Angsty and revolutionary from the sound alone! Favourites included “Rambling Rose”, “Kick Out the Jams”, “Rocket Reducer No. 62”, and “Motor City Burning”.

Found this album hard to get through. There was a few songs that gave me nostalgia —possibly in a commercial in the early 90s or something but beyond that it’s just not really my vibe. “Panama” is a nice energetic anthem, “Hot Teacher” has some cool riffs, but beyond that I guess I’m just not into this gym-locker-frat-rock 80s vibe.

Wasn’t sure how I was going to feel about this album at first, but by the end of it, I realized I would definitely come back to this for a few tracks. The intro reeled me in immediately! Loved the jazzy cool elements. Overall, the production and sampling in this album was pretty cohesive and fun to jam to. I loved some of the sampling of The Shining in “Egg Man”, and some of the Jamaican influences throughout as well. Enjoyed the rock elements in “Looking Down The Barrel of a Gun”. “Sounds of Science” was a cool track, loved the transitions in that. What really got me digging the album though was the second half, B-Boy Bouillabaisse! I didn’t expect that at all and I felt it was really raw and cool. I’m not sure if this is the case, but some of the stylistic cadences of the Beastie Boys reminded me of the likes of Childish Gambino and A$AP Rocky which makes me wonder if they were inspired by them at all. “Hey Brooklyn” gave me A$AP (“Praise The Lord”) vibes immediately and that bass absolutely slaps. Definitely my favourite off the album. Reading about them and learning it was their sophomore album makes sense as it’s pretty refined and cool, definitely want to hear more of them.

Right from looking at the cover of the album and throughout listening, it felt like I was in an underwater rave with SpongeBob and his jellyfish friends. Funky, fun, and interesting. Reading about the group and learning they were a Scottish psychedelic rock band that made this electronic album in the early 90s was really cool. I’m sure for the time it was created when electronic music was just getting into its groove, this was revolutionary. I really do like how they blend psychedelic elements into each track, and they create an ambience that gets you into a trance. I will admit, that the day I was assigned this album by the generator, I was not feeling it. But listening to it again, I found a new appreciation for the nuances of this album. The beats, the samples, the variety of different instruments and styles. It keeps you interested! Favourite tracks included: “Possible Worlds”, “Evil is Even”, “Hear Me”, “666 Edit”, “Lightspan Soundwave”, “Make it Minimal” and “Progen 9.1”.

The name of the group and the cover art definitely don’t do justice to what this album is. This is the first J5 album I have ever listened to and I think it was a great place to start. Great beats/loops, great cadence, and each artist has their own style of rapping that works well with each other. Seems like a really cool group. I enjoyed this album a lot. Had a lot of head bangers. Reading a little more about them and the year this album was released made me realize this type of rapping style was very different than what was coming out in the late 90s early 00s. That being said I can completely see how they have influenced rap culture since this release. It sounds familiar to the rap/hip-hop I know and grew up with. The ones that really stood out for me were “If You Only Knew” (gives me Boondocks vibes with the jazzy flute), “React” (groovy jazzy beat), “Thin Line” (surprise Nelly Furtado feature, always proud to see a Canadian feature), “One of Them”, and “Hey”. I am definitely going to have this album in my future rotation so I can listen to the lyrics more deeply. But based off the vibe and energy alone it’s a pretty solid album.

“Them Bones” is a fantastic way to start this album. Really sets the tone for the dark-heavy-metal-grunge music that leads throughout. I remember the first time I heard the first track in this album I was about 13-14 years old playing Guitar Hero II. Other favourite include “Dam That River”, “Rooster”, and “Would?”. Nothing less than a 4/5 for most of these tracks. Sonically, lyrically, and the style of the vocals and instruments combined keep me coming back for more.

I’m into horror movies, and this album gave me the heebie jeebies in a cool punk rock way. Easy short album. It’s cool that they used a drum machine for a different effect. Hard to believe this album was made in the 80s! It still feels fresh and with the times. The instrumentals and vocals were interesting. It’s a cool, yet horrifying concept which makes for something new and exciting. Favourite tracks include: “Big Money”, “Kerosene”, “Bazooka Joe”, “Strange Things”, and “Cables (Live)”

This album was a blend of electronic music and nature. As I read and listened to the album, I learned that what this group did was definitely revolutionary in the late 70s. I can definitely see hear that. Definitely a cool album for sure. Great for ambient music.

This album immediately transports you to the synthesizing 80s with its punchy drum kicks and vocal production. The first track is immediately nostalgic, I feel like everyone knows the song “Take on Me” it’s fun to sing along to. As I listened to the album I realized there were a lot of tracks that sounded pretty good to me. “Living a Boy’s Adventure Tale” reminds me of one of my favourite Daft Punk songs “Verdis Quo” and perhaps it’s because of that synth-flute or string pad they may have used. Loving the energy in “The Sun Always Shines on T.V.” Also feels a bit familiar to me as I probably heard it growing up I like the vocals and instrumentals of most of the album. It’s a bit electronic, rock, punk, pop, and experimental which made for something really interesting. I find it pretty cohesive where every song seems to blend into each other. Doesn’t feel like a pile of singles jammed into an album. I haven’t taken in the songs lyrically but upon my first few listens I mainly listen for the production and feel of the song. I like the variety of emotions this album feels out. Learning that a-ha is from Norway and that they are part of the New-Wave movement, added a new layer to my understanding of this album. Overall, I found this album to be very good. Even though it’s a pop/new-wave album, and I’m usually not a huge fan of pop, this is the kind of pop I believe deserves the title of popular for a reason. Favourite tracks : “Take on Me”, “Living a Boy’s Adventure Tales”, “The Sun Always Shines on T.V.”, “Hunting High and Low”

What can I say about this album that hasn’t already been said? It’s iconic for good reason. I was immediately captivated by this album as it takes me on a journey of dreamy shoe-gaze rock and alternative rock. Both of which are a top genre for me. It definitely has hints of grunge in it and I can see why this band was comparable to Nirvana at the time. For example “Mayonnaise” was a song I was already familiar with from the band, it was slow, dreamy and sweet. But when I heard the album in its entirety I was surprised that Mayonnaise was no longer my favourite track off the album. “Today” took me somewhere I wasn’t expecting. Gave me flashbacks of The Pixies, and had a punk rock feel to it that I really enjoyed. And of course that song definitely had Nirvana grunge written all over it. Definitely my favourite track off this album for sure. I was immediately captivated by the instrumentals, the layering and the more hardcore heavy alt rock that I didn’t expect from what I thought I understood about the band. I couldn’t tell lyrically, if the album had a cohesive story to tell, but I definitely enjoyed the highs and lows and the journey it took me on. Some soft dreamy songs followed by some really heavy alternative songs made for a gripping album. Reading more about the band and this particular album, I learned there was a lot of conflict during the recording process, which to me surprises me with how great this album turned out despite all the stress and pressure they had at the time with several bands going through a tumultuous period in their life. Love knowing they’re from Chicago as well cause it adds to my list of reasons to visit that state someday. Overall, I found this album to be fantastic and now I understand why The Smashing Pumpkins have been and will be revered for ages and years to come. They got a new fan over here! “Cherub Rock”, “Today”, “Hummer”, “Soma”, and “Silverfuck”

The title “Before and After Science” intrigued me—I expected a sense of duality, and in a way, the album delivered that. With the first half feeling more playful and structured, and the second half drifting into ambient calm, it seemed split into two distinct moods. I wasn’t sure what genre to expect, but the slightly gothic cover made me anticipate something more rock-forward. Instead, I got art rock—something I wasn’t familiar with before this challenge. It reminded me of David Bowie’s “Low” and “Heroes,” which makes sense, since I learned that Eno worked on those albums too. On my first listen, I was distracted and barely noticed anything stand out—it felt like the album passed me by. I gave it another shot during a drive, but again, nothing really pulled me in. I felt a bit disinterested. That said, the opening track “No One Receiving” stuck with me—its groove kept creeping back into my head. I gravitate toward ambient and lo-fi sounds, so I appreciated some of the textured, hazy moments. I respect this album for its influence and for how much it’s adored, but it didn’t hit me emotionally. I listened a few times, hoping it would open up to me, but I think I connect more with albums that tell a clearer emotional story. A few tracks might stay in my rotation, but overall, I respect the experimentation more than I enjoyed the experience. Standout Tracks: “No One Receiving”, “King’s Lead Hat”, “Here He Comes”, “Through The Hollow Lands”

I didn’t expect a 2020 album to pop up from this generator — I assumed it’d lean toward older ones, so this was a surprise. I’m a big fan of SAULT, and Cleo Sol in particular. It’s interesting how the group is made up of individual artists with careers of their own who came together, since usually it’s the other way around — bands go solo. The album is full of gospel influences and is unapologetically political, which can be heavy at times. Music is usually an escape for me, and this one brings me right back to reality — especially with the weight of 2020 in mind. It reflects the pain and power of the Black experience, particularly around the time of George Floyd and the aftermath. It’s empowering and necessary, even if it’s not always easy to listen to. The production is fantastic, and hearing Michael Kiwanuka on a track was a highlight. There’s a lot of soul, a lot of truth, and it’s deeply rooted in Black creativity. I respect the message, even if it’s not a project I’d return to often. I tend to lean toward their less political R&B, though I know even that isn’t completely apolitical. Even as someone who isn’t Christian, I found the gospel and spiritual elements moving. SAULT always opens my eyes to perspectives I may not fully live, but deeply care about. Listening to this album also made me reflect on global struggles — like what’s happening in Palestine — and how music like this connects different fights for justice. It’s an important album, and I’m glad it made the list. The Black struggle is ongoing, and albums like this are a necessary reminder of how far we still have to go. Favourite tracks included: “Miracles”, “Wildfires”, “Hard Life”, “Sorry Ain’t Enough”, “Bow”, “Black” and “Eternal Life”

A ’90s album with everything good — and not-so-good — about ’90s rock. Some songs are more charming than others, but overall, many aren’t ones I’d revisit. I really wanted to like “In the Mouth a Desert,” which probably had my favourite instrumentals on the album, but the vocals didn’t quite land for me. Maybe that off-kilter vocal style is part of the charm for some, but it felt a bit too mismatched here. I do enjoy unconventional sounds, but I guess I prefer when it’s the instrumentation that’s offbeat — or if the vocals are slightly off-time yet still tonally strong. If that makes sense. “Conduit for Sale!” is probably my favourite track. It took me right back to ‘90s indie rock and had the kind of nostalgic punch I didn’t know I was craving. The album is cohesive and blends together well, which I appreciated. The first time I listened, there wasn’t a single track I truly enjoyed — but after a few listens at different times, something clicked. What won me over were the lo-fi alternative rock elements. Nothing overly complex, yet still interesting. The album title really encapsulates the vibe: whimsical and off-kilter, stripped down and lo-fi, but uniquely compelling with all its ‘90s quirks. It makes sense why it’s a must-listen. 3.5/5 Standout Tracks: “Trigger Cut/Wounded-Kite at :17”, “Conduit for Sale!”, “Loretta’s Scars”

I distinctly remember the first time I discovered Jimi Hendrix in high school, never really taking the time to listen to his discography in it’s entirety, but knowing already that I was a fan of his work from “Purple Haze” alone. I’ve been a fan of psychedelic rock through the likes of Khruangbin and other adjacent bands that follow their style and sound but hearing the twangs and skills of Jimi’s guitar reminds me of why I admire psychedelic rock so much. Mark Speers sings with his guitar, and so does Jimi and seeing as Jimi was first, he probably laid the foundations for the sounds I know and love today. I was completely blown away by “Third Stone of the Sun” I didn’t think I’d like a song more than Purple Haze or Foxey Lady, but this song truly gave me that late 60s psychedelic experience I’ve always wondered about. Its transportive instrumentals and sparse vocals make it ambient but funky and cool. Contrasting that with “Red House” which is my other favourite song from this album (I rated both of these songs 5 stars, nothing else made it that high for me), the blue notes on this track were unreal. I have definitely been enjoying many of the blues albums I’ve been recommended through this generator so it makes me happy that there’s elements of blues, jazz and soul throughout this album. Jimi’s debut album was an incredible introduction to the talent him and his band brings to the table, as some of the reviews already stated, some of the best rock was created around this time and I can definitely feel it in this album. It’s sad knowing he is part of the 27 club, and it’s always hard not to imagine what he could’ve created had he lived longer. An amazing introduction to an amazing artist. Definitely looking forward to hearing the rest of his albums. Standout Tracks: “Third Stone from the Sun”, “Red House”, “Purple Haze”, “Foxey Lady”

Right from the very first track I knew I was going to love this album. A great mix of blues, jazz, and country rock. I am so happy that it’s a live album on top of that because that allowed the band to get extra creative, have instrumental solos and do things a little differently from what their refined studio version would have sounded like. I didn’t even realize how old the album was! Truly felt fresh and new by the sound alone. For example, “Stormy Monday” touched something in me that I didn’t even know I needed, the slow twangs of the guitar, the cohesion of the arrangements of all the other instruments like the organ styled keyboard. The vocals were absolutely perfect. And when the track breaks down and allows for each member to shine, that was when it clicked for me that this was an album I’d keep coming back to. The instrumentals hit me right in my soul, the vocals were perfect, I loved how long each song was too. This album is one of those albums that makes me wish I could travel back in time or even just travel to an area that still plays music like this. The kind that makes my face ugly as it scrunches up every fibre and expression in me as I close my eyes and listen to the album in pure enjoyment. Makes me feel like I’m in a grungy smoke filled bar and I would’ve absolutely loved to have hear this live. Definitely an album I’ll keep coming back to. Standout Tracks: “Statesboro Blues”, “Stormy Monday”, “You Don’t Love Me”, “In Memory of Elizabeth Reed” and “Whipping Post”

This is the kind of album that’s perfect for a rainy day in a cafe, a beautiful sunny day in the park feeling the breeze while sitting under a tree, an easy listening day drive, a night alone for dinner, a romantic jazz night in. You name it and the album fits. It’s romantic, easy listening, relaxing, soothing and soft. The album makes me feel like I’m in a dreamland of milk and honey. Sweet and soft. Norah Jones’ soft, soothing voice hits all the notes in a perfectly beautiful way where it doesn’t feel over the top, it’s just the right amount. Her lyrics tell stories through each song. The songwriting is excellent and the instrumentals that work alongside her are perfectly collaborative with her vocals. “Painter Song” really resonated with me as I myself always wish I could paint my dreams, my wishes, my memories. It’s such a simple thought and feeling and yet she makes it so special and beautiful. Then there’s “Turn Me On” she takes a more soulful approach and somehow still makes it soft, but sexy. I really enjoyed how she carried throughout the album. Learning that Norah Jones is the daughter of the late Ravi Shankar surprised me, (though my parents thought it was old news), but I didn’t know that. It made sense since she looked racially ambiguous to me. Couldn’t help but want to learn more about her, her background, and her artistry. Couldn’t find much about her which I appreciated as well. Added to her allure and mystery. Overall, I found this album to be a beautiful vocal jazz album. I was pleasantly surprised when I was assigned this album by the generator because I was already familiar with many of the songs from this album and was so happy to get right into it. Perfect album in my opinion! Standout Tracks: “Don’t Know Why”, “Cold Cold Heart”, “Come Away With Me”, “Turn Me On”, “Lonestar”, “Painter Song”, “One Flight Down”, “Nightingale”, and “The Nearness of You”

Live albums are always fun, especially when the part of the recordings include the band interacting with the audience and speaking on some of their inspirations of their setlist. They had quite the set list for this album, none of the songs were something I was particularly familiar with as I (sadly) only know The Who through CSI: Miami (don’t judge me!) but I was definitely excited to explore this live album knowing I was already familiar with them through my childhood. Though I understand this album to be one of the greatest live albums recorded to date, I do agree with some that have already stated that it’s a bit dated. I can appreciate what this album was and what it meant for its time; however it didn’t impact me in that same magnetic way as many critics described it. Overall, I found this album to be a good live experience of The Who even if it was a bit long and repetitive, I still really liked a large majority of the live record. Standout Tracks: “Amazing Journey/Sparks Live - Medley”, “Shaking All Over”, “Young Man Blues”, “I Can’t Explain”, “My Generation”, and “Magic Bus”

#0032: Swinging Ray of Love This album made me believe in love again. I love music from the 50s for this reason. The arrangements, the swing-pop jazz, the vocals, and of course Ray Charles on the piano. This album immediately transports me to my favourite black and white films where love and romance were at its peak. Just makes me want to wear a beautiful sundress and dance in the rain. Or slow dance with a loved one late night at home with ambient lighting. As many already mentioned, the album has two sides. Side A has more orchestration with swing/jazz arrangements, while Side B is more somber and slow and intimate. And I enjoyed this flow. Usually lyrics tend to go right over my head, but perhaps it’s the way things were sung in the 1950s with that slight transatlantic accent, the enunciation, makes it easy to follow along, and all the lyrics just touch my heart in a romantic warm loving way. It’s gentle, sweet and beautiful. I really enjoyed the album musically and lyrically. Instantly, this album has become a classic for me that I want to keep revisiting. It’s short and sweet, easy listening. Perfect for a cafe, or just a romantic evening when it rains outside. It’s beautiful. Standout Tracks: “It Had To Be You”, “Alexander’s Ragtime Band”, “Two Years of Torture”, “Just For A Thrill”, “You Won’t Let Me Go”, and “Don’t Let The Sun Catch You Cryin’”.

This album felt theatrical in many moments. The instrumentals arrangements, the harmonies, the production, the interesting lyrics, all made for something really intriguing and fun. The most impactful song for me was “Go Or Go Ahead” which felt completely different from the rest of the album, yet fit perfectly. It was transcendent, and I felt his vocals took a different direction than the other songs where it felt he was mainly level toned, almost monotonous at times. However, learning that Rufus Wainwright is Canadian, and that this album was categorized as baroque pop (by combining rock with some classical elements), made me appreciate this album a little differently, not just because it’s a part of my heritage but also because I never knew there was a genre like this. It was something I never heard before. Overall, I found this album to be a little vocally monotonous, even if the instrumentals were theatrical at times, minus the absolute gem “Go Or Go Ahead”. I guess in a way I was craving something more from it, but rereading through other reviews I’m curious to hear Want Two and see if it’s more of what enjoy from Rufus. Nonetheless he was something different from my regular gravitational pulls to other genres. Standout Tracks: “Oh What A World”, “I Don’t Know What It Is”, “Vicious World”, “Go Or Go Ahead”, “Beautiful Child”, and “Want”

Going into this album, I had pretty low expectations. Some of the reviews I read on the generator and app painted it as underwhelming or overly quirky, but there were a few surprises that made this a more enjoyable listen than I anticipated. When researching the album I learned the reason it’s on the list is because it was one of the few bands that reinvented British post-punk and did so by adding brass elements and reviving neo-psychedelic sounds. At first, Julian Cope’s vocals came across as loud and abrasive. The brass elements also felt out of place to me, they didn’t add much initially. But over time, they started to click, especially in “Sleeping Gas.” Oddly enough, I didn’t like the recorded version of that track much, but the live version was incredible, raw, chaotic, and full of energy. One of my initial issues with the album was how repetitive the first few tracks felt. The sonic palette didn’t change much, but after a few listens, certain tracks started to pop. “Poppies” reminded me a lot of Franz Ferdinand’s style even though they come from a more post-punk/dance-punk era. Makes me wonder if they ever cited this band as an influence. Similarly, “Use Me” felt more acoustic and emotionally raw, it gave me The Smiths vibes, which made me curious if there’s any documented influence or overlap there too. As a fan of Khruangbin and psychedelic rock in general, I usually enjoy the more transcendental, groove-heavy textures of the genre. That’s not exactly what The Teardrop Explodes is doing here. Instead, they punch through any dreamy atmosphere with a brash, synth-laden 80s sound that’s impossible to ignore. It’s hypnotic in moments—especially in how Cope delivers his vocals—but it never fully lets you drift off. That might be part of what makes it distinct. Ultimately, I found this album to be a decent listen. It won’t make it into my regular rotation, but I appreciated the journey it took me on—even if I wasn’t always sure where it was going. 2.5/5. Standout Tracks: “Ha Ha I’m Drowning”, “Second Head”, “Poppies”, “Went Crazy”, “Thief of Baghdad”, “When I Dream”, “Reward”, “Use Me”, “Traison”, and “Sleeping Gas (Live)”

From the very first track of this album, I was instantly reminded of the guitar work and grooves that I come to love from Ali and Vieux Farka Touré who are both Malian artists I discovered through their collab with Khruangbin. Baaba Maal has a unique quality different from Malian soundscapes. The Tourés have a sound that is more bluesy-infused-soul of the Sahel region of Africa, whereas Baaba Maal’s music featured more percussions that came from all parts of the world. I heard moments of Caribbean soca influenced and even Baila - which is music from my dad’s country Sri Lanka. His vocals on this album were interesting, in some of the tracks his voice felt like a call to a spirit which felt ethereal yet bold like in the tracks “Daande Lenol” and “Daniibe”. The production of this album combines the sounds of Fulani with a mix of reggae and pop. Listening to this album felt like I was in the Fulani region experiencing the vast culture surrounding it, while simultaneously connecting back to me as it celebrated sounds from all over the world. Lam Toro also made me reflect on the region it was created in, Senegal 🇸🇳, and how West African heritage continues to ripple across genres. From the traditional Fulani melodies in his music to the raw, trap energy of Sheck Wes, a Senegalese-American rapper I first heard on “Mo Bamba”. Though they’re worlds apart sonically, both artists carry the imprint of their roots that I found personal and profound in their own right. Overall I found this album to be an international treat. To me this is the first album that didn’t come from America or Europe which pleasantly surprised me that the generator included albums all over the world. I’m looking forward to travelling sonically though this challenge. I enjoyed it for what it was, not entirely sure it would be a part of my future rotation but there are songs I will definitely come back to. Standout Tracks: “Daande Lenol”, “Daniibe” and “Gidelam”

I love when an album takes you to another place. I’ll never grow tired of 90s music. There’s just so much experimentation along with influence that has carried to music thereafter. This album is no different when it comes to creating an influence. I hear the album and immediately can feel that I’ve heard this sound before and now realizing this is probably the root of it all. I really like the dark soundscapes and the storyline of the album which I’ll quote from Wiki: “It is a concept album detailing the self-destruction of a man from the beginning of his misanthropic "downward spiral" to his suicidal breaking point.” The album is also extremely blended and cohesive it’s hard to tell when one track ends and another begins if you’re not paying attention. Especially the transition between “The Becoming” and “I Do Not Want This”. Portishead’s Dummy came out the same year as this album and because I knew that album prior to this one I was immediately taken by the trip-hop vibes of “Piggy” and “Closer”. Again, the 90s were so great for how much explanation there was and how there was so much openness to realms of darkness which I tend to gravitate to. Genuinely keep coming back to this album because it’s so interesting and different from what I usually listen to. I will admit it was a bit abrasive for me at first but I am completely enthralled now as I keep coming back to it wanting to know more. I resonated with the wiki description as I listened through it. I felt like this album could be broken into 3 acts (i, ii, iii). Slowly the lyrics and the demeanour of the music grew darker and eventually did get to a breaking point. It was both a haunting yet beautiful journey. Right from the beginning we are introduced Act i: to the voices in his head with “Mr. Self Destruct”. “Piggy” shows him accepting his fate as he succumbs to what’s inside him. “Hersey” is my favourite track off the album because I feel to me, it’s the pinnacle before he finally spirals down. It’s his one last cry for help as he jumps into what’s coming for him. I love the call back to Piggy in the conclusion of “The Ruiner” almost as if we’re taking another level down the spiral and journey forward because “nothing can stop me now”. To me this both ends Act i and starts Act ii. “Me and My Gun” closes Act ii chapter lyrically and we’re now entering another realm of the album, where he furthers down the spiral. Act iii: I’d say this part is my favourite. The soundscapes are so interesting. It fuzzes my brain with all the different creative instrumentations. Sounds of flies, buzzing, whizzing, all types of industrial noises mixed in. We reach the title track where he reaches the point of a menacing end to one’s life, whose? We do not know for sure. I presume the voice in his head. I like that “Hurt” concludes the album as it almost feels like he’s trying to wake himself up from where his mind took him. Almost feels hopeful even though lyrically he’s hurting himself as he reflects on his actions. Such an interesting end, and perhaps, the end brings us back to the beginning as he self destructs once again. An endless downward spiral. Standout Tracks: “Heresy”, “Mr. Self Destruct”, “Closer”, “Piggy”

It’s almost kismet that the generator gave me this album right after I heard The Downward Spiral for the first time. Not even realizing that industrial punk or the genre itself would be my cup of tea and this album definitely fortifies it for me. The textures of all the instruments, it was so interesting to listen to. Definitely a really weird album, yet I couldn’t stop. I was so intrigued and curious about it all. Released in 1981 in West Berlin 🇩🇪, this album emerged during a time when the city — and the country — were split by the Cold War and the Berlin Wall. The Berlin Wall was a symbol of political division but it also represented the cultural tension that existed within the city. This tension can be heard through the soundscapes in this album: harsh, alienated, industrial and aggressively anti-establishment. I also learned that the album name itself translates to “Collapsing New Buildings” which made it all the more meaningful in the listening experience. Made it feel like a rebellion against structure itself. Which also made me realize that not long after this album was created, the Berlin Wall was “kollapsed” in form of a riot against the communist divide in 1989. Also learning that the artists rejected many traditional instruments and used power tools, scrap metal and found objects to create these sounds. It makes for something anti-music, and more something like sound-as-art. Truly felt like rather than walking through an art gallery of images you were confronted by these abrasive, deconstructed, mechanized sounds instead. This album seemed like it was doing more than just textural experimentation. Though I don’t speak German, and couldn’t understand the lyrics, somehow the vocals gave the anger, angst, aggression that was needed to tie these soundscapes together. The amount of creative instrumentation used for this album reminds me why I was so enthralled by NIN’s The Downward Spiral. I feel that album was able to create a story or narrative surrounding the industrial texture, but Kollaps felt like you were going even further into the abyss without a guide. It’s chaotic, jagged, and uncomfortable to sit with in some moments. I respect the hell out of it for kicking the door open on industrial music. Rating: 3.5 – Growing On Me Standout Tracks: “U-Haft-Muzak”, “Abstieg and Zerfall”, “Futuristicher Dub”, “Sado-Masodub”, “Liebesdub”, “Spionagedub”, “Mikrobendub”, “Gastarbeiterdub”, “Rivieradub”, “Lünebest”

Hard to believe this album is almost 30 years old and yet the impact of the album still lives on through the likes of other female bands I’ve grown to love like The Beaches and The Last Dinner Party. It still sounds so relevant, relatable and new. I really loved the punchy intro title track as it really sets the tone for the angsty feminist riot grrrl rock that was going to come thereafter. Corin Tucker and Carrie Brownstein create a really edgy sound with just their voices and their guitars and Janet Weiss on the drums. No bass. And even with this minimalist set up, this album was still so full and intense. Tucker’s voice especially almost acted as a fourth instrument with her yodels akin to the ones I’ve heard in The Cranberries. What I really enjoyed about the album the most and found fun was the sparring between both singers. It was almost conversational between them, but also storytelling between two angles. Learning that Hayley Williams from Paramore was heavily influenced by these artists makes even more sense as I can hear a bit of their style in her sound. I really love the emergence of female vocals and talent within the rock realm so this was really fun to listen through. My favourite tracks were definitely “One More Hour” and “Jenny” if I really had to pick a top two. I think the best points of the vocal sparring happened in “The Drama…” and “Heart Factory”. Rating: 3.8/5 – Grew On Me Standout Tracks: “One More Hour”, “Turn It On”, “The Drama You’ve Been Craving”, “Heart Factory”, “It’s Enough”, “Things You Say”, “Dance Song ‘97”, “Jenny”