A truly charming and experimental album. It’s clear that this is a pioneering record, full of playful exploration. Wildly funky and still catchy.

An album bursting with energy and confidence. Iggy Pop sounds like a man who’s survived chaos and now dances on the ruins. You get swept up by the raw, rebellious rock attitude, especially in the iconic title track and the moody The Passenger. David Bowie’s influence is unmistakable in the arrangements and atmosphere, adding an extra layer of brilliance. A ragged, yet magnificent classic. 4/5

A truly charming and experimental album. It’s clear that this is a pioneering record, full of playful exploration. Wildly funky and still catchy.

TEE features some classic and groundbreaking moments, and it’s clear that Kraftwerk has been a major source of inspiration within electronic music. The album follows a consistent theme centered on Europe (progress, connection between countries) and serves as a kind of sonic landscape or soundtrack. At times, it can feel monotonous and dull, but the album also continues to surprise with elements that make you want to keep listening.

It’s a David Bowie classic. I’m probably most into the instrumental part of the album. But the title track is hard to ignore. David Bowie is a great artist who has evolved and pushed boundaries throughout his entire musical career. Personally, I prefer his more recent albums.

Melodic album. Absolutely a classic that can be listened to again and again. The lyrics are sharp, and the style is simple, intimate, and emotional. Not to forget Young’s distinctive high-pitched voice, which shines clearly throughout the entire album. Top class album!

Clearly the best Beatles album, if you ask me. Full of creativity, boldness, and musical playfulness. Each song has its own character, yet it all fits together as one cohesive piece. From the mournful strings of Eleanor Rigby to the psychedelic explosion of Tomorrow Never Knows – this is The Beatles at their most inventive and fascinating. An album you can listen to again and again and still discover new layers. A masterpiece.

Cornershop’s breakthrough album is a colorful blend of Britpop, Indian folk music, hip-hop, and lo-fi pop. It’s a playful and eclectic work, where everything from sitars and tablas to funky basslines and spoken word performances melt together in a warm, laid-back soundscape. The album has received widespread praise for its creative fusion of East and West, but personally, it didn’t grab me. The style feels too pop-oriented and polished, and the whole thing lacks the edge and grit I need to really get engaged. It’s undoubtedly an original and accessible album – it just doesn’t quite hit the mark for my taste.

Two Dancers has been praised for its sophisticated sound and sensual atmosphere, where falsetto vocals and elegant guitar lines weave together in an art-pop universe marked by desire and restlessness. Many highlight the album’s poetic qualities and its subtle, dark mood. Personally, though, it didn’t grab me at all. I can appreciate the musical structure and intention, but the overall mood – and especially the vocals – drain all energy from the album for me. It feels extremely dull, like listening to something trying to be mysterious and artistic, but ending up completely devoid of edge and life. 1/5

Safe As Milk is a strange beast. It’s not an album that gets under your skin right away, but it has a glint in its eye and a crooked kind of energy that keeps pulling you back. Not because everything works – but because something feels different. It’s blues, it’s psychedelic rock, and it’s pure nonsense. But somehow it all holds together. My favorite tracks are “Zig Zag Wanderer,” “Dropout Boogie,” “Yellow Brick Road,” and the bizarre “Abba Zaba” – songs that balance the catchy with the completely chaotic in a wonderfully reckless way. Captain Beefheart’s voice is an experience in itself – rough, theatrical, and never boring. When he steps back, as in the more instrumental sections, the album loses some of its soul and starts to feel a bit monotonous. But that just makes the vocal-driven songs come alive even more. This isn’t a top 100 album for me, but it’s one I’m genuinely glad to know. It stands out – bold enough to be silly and artistic at the same time. Not everything hits the mark, but when it does, it’s like getting a crooked smile from a man with a guitar and a wild idea. 4/5

A truly well-produced album where you can tell that every detail has been carefully considered. The instrumental side is both tight and creative, and everything comes together beautifully without feeling overly polished. The lyrics are thoughtful and carry depth without becoming too insistent. D is the kind of album that doesn’t necessarily grab you on the first listen, but grows on you with each spin. I can easily see myself coming back to it again and again. It has that rare quality where you keep discovering new layers and nuances along the way. 4/5

Stand! is a funky and energetic album that tries to do it all at once – political message, sing-alongs, celebration, and protest stirred together in one colorful mix. Musically, it's undoubtedly important and groundbreaking, but as a listener today, it can feel over-the-top and forced. The album loses me in its insistent tone, where the energy often drowns out the nuances. Tracks like “Somebody’s Watching You” and “I Want to Take You Higher” stand out with strong grooves and a more focused atmosphere, but the rest of the record doesn’t resonate with me. I enjoy funk, but this is too much Like it’s shouting when I’d rather it spoke. Perhaps it hits deeper if you have a stronger connection to the album’s themes. For me, it ends up feeling more like a historical footnote... important, but not personally engaging. 3/5

Closer is a dark, beautiful, and deeply atmospheric album, steeped in themes of loss, isolation, and inner collapse. It's a work where Ian Curtis's desperate vocals and cold, mechanical arrangements merge into an almost frozen form of emotional expression. And yet, amid all the darkness, there’s a surprisingly strong rhythmic drive. The paradox of Closer is that several tracks, like “Isolation” and “Heart and Soul”, feel like they could have been played at a cool 1980s nightclub. The album strikes a delicate balance between deep existential gravity and a tight, almost danceable aesthetic. This isn’t an album that asks for your attention, it demands it. And once you surrender to it, it opens up like an icy yet captivating space. One of those rare albums that manages to be both emotionally devastating and physically compelling. 4/5

Scott 2 walks a line between grandiose crooner drama and European chanson melancholy. Walker’s voice is undeniably powerful and technically impressive, but for me, it lacks edge. There’s a glossy, almost Vegas-like quality to it that makes it hard to fully connect with. Despite the lush orchestration and some thoughtful lyrics, the album becomes somewhat trivial over time. It all blends into a beautifully arranged melancholy that, while polished, feels emotionally distant. I can understand the appeal – but I don’t feel it. An interesting time capsule, but not a record I’ll be returning to. 2/5

Fuzzy Logic is an album that deliberately steers away from the wave of Britpop that defined much of the British music scene in the 1990s. While bands like Blur, Pulp, and Suede delivered sharp observations, strong melodies, and clear cultural resonance, Super Furry Animals take a different route, diving into absurdity and veering off into what often feels like a parody of the genre itself. Musically, the album is energetic, playful, and occasionally charming in its experimentation, but also messy and difficult to connect with. There’s no doubt the band has talent, but it’s used here in a way that avoids depth and direction on purpose. Lyrically, the album falters. Lines like: “And wouldn't it be nice to know What the paper doesn't show Or what the TV doesn't say Or what the hamsters ate today” come across as little more than student-level nonsense, standing in stark contrast to the thoughtful writing found in many of their contemporaries’ work. It’s hard to stay engaged when the whole thing feels like a joke, especially if you approach the album expecting something more substantial. There are fleeting moments of musical clarity, but overall, the album feels too chaotic and tongue-in-cheek to leave a lasting impression. Fuzzy Logic will likely appeal to those who enjoy the quirky, the sarcastic, and the boundary-pushing. But for me, it’s more of a distraction than a pleasure, a musical joke I just don’t find funny. 2/5

An album that lands somewhere between power pop and Britpop, with nice melodies, distorted guitars, and a laid-back delivery. It reminds me a bit of Oasis, but without all the self-importance, which actually makes it easier to like. I’m not completely sold, but Bandwagonesque is solid and charming enough to get a thumbs-up. 3/5

Automatic for the People has long been my go-to R.E.M. album, but Document gives it a real run for its money and maybe even beats it. It’s raw, energetic, and political without ever feeling preachy. There’s a sharpness and urgency here that makes you do more than just listen, you feel it. The sound is fantastic. The guitars snarl, the drums march forward, and then there’s Michael Stipe’s unmistakable voice, walking the line between cryptic and desperate. He sings with a sense of insistence that gives the songs both tension and depth. “The One I Love” and “It’s the End of the World…” are obvious highlights, but the album holds up all the way through. Even the deeper cuts feel essential, like there’s no filler here. This isn’t just a great R.E.M. album , it’s a great rock album. A document, yes, of a time, a sound, and a feeling that still resonates today. 5/5

An album that is undoubtedly well-produced and historically important. The sound is meticulously crafted, the arrangements are diverse, and there’s a clear sense of artistic ambition throughout. It’s easy to understand why this album became a classic. That said, the title track doesn’t resonate with me anymore. There’s something about its grandiose expression and emotional insistence that feels a bit forced. Over time, it has started to bore me, perhaps because it has become too iconic and overexposed. But as a whole, Bridge Over Troubled Water remains a strong and important record that deserves its place in music history. Not necessarily because every song still feels relevant today, but because it set new standards for what folk-pop could be. 4/5

A lo-fi blend of blues, hip-hop, and college slacker vibes that tries to be charming and laid-back , but mostly feels empty and irrelevant. It’s technically competent, but lacks soul or depth. For me, it never rises above background noise with attitude. Not my cup of tea. 1/5

OK is anything but okay. This album throws Eastern spirituality, tablas, electronica, ambient, drum & bass, and a splash of self-help mysticism at the listener in one big chaotic sonic stew. It wants to be deep, urban, global, and transcendent all at once, but to me, it feels more like being trapped at a spiritual world music festival with a broken sound system. “The World is Sound”? Sure!, and everything is playing at once. It’s overwhelming. There’s no room to breathe, and the music tries to say so much that it ends up saying nothing at all. 1/5

Pearl is Janis Joplin’s final and most cohesive album, released posthumously shortly after her death. Her vocal range is impressive, especially in the mid-register where emotion and control truly shine. The album is deep, intimate, and well-produced, with standout tracks like Me and Bobby McGee and Cry Baby. Still, despite its undeniable quality, it doesn’t quite captivate me enough to become a record I’ll return to often. 4/5

An album full of barroom atmosphere, crooked anecdotes, and the darker sides of life. Waits paints vivid portraits of lost souls and back alleys with his raspy, theatrical voice and a jumble of junkyard blues and twisted melodies. There are definitely moments of intensity and character, but over time, it all starts to blend together. It’s like being stuck in a bar at 4 a.m. with a man who doesn’t know when to end his story. Moody, yes. But also tiring. There’s little hope in Waits’ universe, and for me, that makes the album more admirable than lovable. 3/5

A moody and psychedelic album that I happened to be assigned the day after Brian Wilson’s death. The music is filled with both longing and reflection, and despite being over 50 years old, many of its themes still feel strikingly relevant. Tracks like “’Til I Die” and “Feel Flows” carry an almost meditative weight, and the album’s climax, the magnificent “Surf’s Up,” is a true masterpiece. Even the often-criticized “Student Demonstration Time” feels eerily timely in light of the current protests in L.A. A mature, melancholic, and deeply introspective album that presents The Beach Boys at their most serious and artistic. A powerful farewell to innocence and in some ways, to Brian Wilson himself. 5/5

An overhyped experiment that mostly feels like being trapped on a musical carousel you can’t get off. The album drowns in high-pitched vocals, endless repetition, and layers upon layers of sounds that never really go anywhere. It plays more like a chaotic noise collage than anything melodic or dynamic. I actually found myself getting annoyed as it went on, and that rarely happens when I listen to music. 1/5

An album bursting with energy and confidence. Iggy Pop sounds like a man who’s survived chaos and now dances on the ruins. You get swept up by the raw, rebellious rock attitude, especially in the iconic title track and the moody The Passenger. David Bowie’s influence is unmistakable in the arrangements and atmosphere, adding an extra layer of brilliance. A ragged, yet magnificent classic. 4/5

An album that aims to be futuristic and intellectual but ends up feeling monotonous, directionless, and frankly boring. Mike Ladd delivers his lyrics in a droning, spoken-word style that quickly wears thin, and the abstract beats never really take off or provide any sense of cohesion. There are clearly big ideas at play, sci-fi themes, political undertones, and experimental soundscapes, but they remain more theoretical than impactful. The album lacks emotional depth, energy, and melodic variation. It quickly becomes a slog to get through, and while some might call it “visionary,” it doesn’t leave much of an impression unless you’re already tuned in to its frequency. 1/5

A dark, melodic, and almost theatrical album that balances between gothic rock and electronic pop. While it clearly has an '80s vibe, the production doesn’t feel dated, especially the beats, which could easily belong on a modern darkwave release. Andrew Eldritch’s deep, dramatic voice gives the album its distinct identity and elevates otherwise simple structures to another level. There are clear parallels to Depeche Mode, but Floodland stands firmly on its own with its grand, brooding atmosphere. 4/5

A technically accomplished album where Steely Dan effortlessly moves across genres like jazz, rock, and funk, without ever losing control. The music is complex yet accessible, and the lyrics are sharp and well-crafted. It’s an album with both edge and depth that grows with each listen. 4/5

An incredible album where Van Morrison’s voice truly stands out as something wild and unique. His vocals are both intense and captivating, perfectly complementing the dreamy soundscape. I’m especially impressed by how the album blends so many musical genres, from folk and jazz to blues and classical, without ever feeling disjointed. On the contrary, it creates a deep, flowing, and spiritual whole. 5/5

A classic live album that, like Deep Purple’s Made in Japan, captures a band at the peak of their power and cohesion. The improvisations are long but always engaging, and Duane Allman’s slide guitar work is nothing short of masterful. The music flows effortlessly between blues, jazz, and rock without ever losing its soul or direction. It quickly becomes clear why this is considered one of the greatest live albums of all time. 5/5

There’s something undeniably fresh about Elvis Costello’s debut. The album bursts with energy and has a certain lightness in its sound that almost recalls L.A. surfer rock, without losing its edge or British sharpness. The lyrics are witty and sarcastic, but the music remains accessible and melodic. A strong and versatile debut that still holds up today. 4/5

A truly dreamy and captivating album, with a surprisingly poppy edge that blends perfectly with its lush, atmospheric soundscape. The vocals and instrumentation merge seamlessly, creating something that feels almost otherworldly, yet still accessible. A cohesive and immersive experience that stays with you long after it ends. 5/5

A sensual and atmospheric album, filled with desire and intimacy. Marvin Gaye hits the tone perfectly with his silky vocals and warm production, and the theme is delivered with great confidence. But for me, it becomes a bit too one-dimensional over time, the sexual focus dominates a little too much for the album to truly hold my attention all the way through. Solid craftsmanship, but not entirely my cup of tea throughout. 3/5

A smooth, funky, and deeply moving album where Marvin Gaye masterfully addresses war, the environment, racism, and hope. It's easy on the ears but hits hard with its political and emotional messages. A complete classic that still feels hauntingly relevant today. 5/5

A fantastic album, super funky and bursting with different styles. The groove is tight throughout, and at times the guitar work really reminded me of Santana, especially on tracks like 'That Lady'. There's also a raw energy in the vocals that brings to mind James Brown, powerful and soulful. It's an album full of surprises, blending rock, soul, funk and even a bit of psychedelic flair. Just a joy to listen to from start to finish. 5/5

Is This It is often praised as a landmark album that helped launch the garage rock revival of the early 2000s. With its tight production, short and punchy tracks, and effortlessly cool attitude, it’s become a modern classic for many. But for me, it doesn’t quite hit the mark. Julian Casablancas’ vocals, which some find iconic, come across more irritating than engaging. The distant, filtered sound feels monotonous over time, and I miss a sense of warmth or variation. Musically, it’s tight and stylish, but also a bit too slick and repetitive for my taste. There’s no doubt about the album’s influence and significance, but personally, it leaves me a bit cold. 3/5

I struggled with Infected. Matt Johnson’s vocals come across as overly theatrical, almost like he’s performing in a musical rather than delivering something sincere. It felt more like a character than a voice. The music is heavily produced and layered to the point of exhaustion. Everything is so sharply defined and pronounced that it becomes overwhelming. There’s barely any space to breathe in the mix, and it ends up feeling claustrophobic. I can sense the ambition and the political intent behind the album, but the listening experience left me more drained than engaged. 2/5

A masterpiece. A classic. An album I truly love, and one I’m proud to own on vinyl. Kind of Blue is the essence of calm, elegance, and depth in music. It’s jazz at its most relaxed, yet also at its most intense. Every single note feels intentional, and the airy interplay between Miles, Coltrane, Cannonball Adderley, and Bill Evans radiates emotion and restraint. Tracks like “So What” and “Blue in Green” hit me every time – both musically and emotionally. This isn’t just a jazz album, it’s a piece of music history. A timeless experience I keep returning to again and again. 5/5

A pretty great hip-hop album that, surprisingly, feels like something that could have come out of New York, not L.A. The sound is warm, jazzy, and boom bap-inspired, often reminiscent of A Tribe Called Quest, especially in the flowing beats, laid-back delivery, and quirky storytelling. The Pharcyde are goofier and more exaggerated than Tribe, but they share a playful approach to hip-hop and a resistance to the tough exterior of gangsta rap. Even though the album is technically West Coast, it has an East Coast heart. It’s a weird, humorous, and musically rich ride that deserves its status as a classic, and still holds up today. 4/5

As a longtime Pink Floyd fan, The Wall holds a very special place for me. My introduction to the band was through “Another Brick in the Wall, Part 2”, and that was over 30 years ago. Since then, I’ve collected almost all of their albums on vinyl and keep coming back to the Roger Waters era, which I prefer. The Wall is a powerful showcase of Waters’ brilliance as a lyricist, political, personal, and poetic. It may not be their absolute best album, but it’s undoubtedly a masterpiece. Grand in scale yet deeply introspective, dramatic yet sharply written. My favorite tracks are “Hey You,” “Mother,” “Comfortably Numb,” and the dark, theatrical “Waiting for the Worms.” The Wall is an emotional and musical tour de force, and an album that still resonates today. 5/5

A solid album that really emphasizes melody and atmosphere. While their debut was chaotic and noisy, Darklands is much more restrained and focused, almost like a dark pop record wrapped in a foggy, rain-soaked mood. The vocals are cold and detached, but they suit the melancholic lyrics and slow pace perfectly. It’s an album filled with loneliness and quiet desperation, yet delivered through simple, beautiful melodies. A strong and stylish record with a unique atmosphere. 4/5

I can appreciate the album’s tone and psychedelic vibe, and at times it really works. Tracks like “Strange Brew,” “Sunshine of Your Love,” and “Dance the Night Away” stand out and show Cream’s ability to blend blues, pop, and psychedelic rock. The production is colorful and experimental, and the band’s technical skill is undeniable. But I never felt fully engaged by the album as a whole. It’s an important and well-crafted record, but not one I feel compelled to revisit too often. 4/5

I understand the pioneering role and historical importance, this is undeniably an album that helped shape rock music. But time has moved on, and for me, it just doesn’t resonate. There’s a lot of energy and raw attitude, but it feels more like a piece of music history than something I genuinely connect with. It’s clear that you probably had to be there, part of the generation where this was new and wild. Respect for what it was. But not something I’ll be revisiting. 2/5

I’m not into R&B as a genre, and Rapture doesn’t change that. Anita Baker undoubtedly has a beautiful voice and delivers everything with elegance and control, but for me, it just becomes too dull over time. The album is filled with love songs, and there’s only so many of those I can take in one sitting, especially when the tempo and mood barely shift. I can understand why it resonates with others, but it doesn’t connect with me. 2/5

Musically, there's little to fault, the guitar work is superb, and the overall mood is intense and heartfelt. But the album drags on and loses momentum along the way. Many of the songs start to blur together, making it feel a bit repetitive and heavy. A few standout tracks like "Layla" and "Bell Bottom Blues" keep it afloat, but it's not an album I find myself returning to often. 3/5

The atmosphere is undeniable, almost mournful and deeply melancholic. There’s impressive technical skill and musical presence throughout, yet it’s still a difficult listen for me. You can clearly sense that Cobain is struggling. There’s little joy or spark left; it feels like the light is dimming. That said, certain tracks stand out beautifully, Come as You Are, The Man Who Sold the World, Dumb, and Where Did You Sleep Last Night all shine in this setting. It’s a powerful performance, but one that’s hard to digest emotionally. 4/5

There’s no denying that Songs in the Key of Life is an impressive piece of work. Stevie Wonder delivers a cohesive and ambitious collection of songs that span a wide range of themes and styles. The production is polished, and the craftsmanship behind each track is clearly top-notch. Still, the album doesn’t fully connect with me. Despite its technical and musical brilliance, I find it drags over time. It feels too long, too polished, and ultimately, a bit boring. I can easily understand why it’s so highly praised, but personally, I don’t think I’ll ever become a big Stevie Wonder fan. 3/5

This is actually a solid album. I really liked the atmosphere, melancholic and dreamy without feeling heavy. It starts off strong and maintains a consistent mood and style throughout. It’s well-crafted and immersive, but lacks a real standout moment. There’s no obvious wonder-hit, and overall it feels a bit standard at times. Still, it’s a solid record that works well within its own space. 4/5

I actually liked this album quite a lot. It takes some getting used to, as it's not music that grabs you right away. But the more you listen, the more it opens up. The mood and atmosphere are its greatest strengths, dark, patient, and slowly unfolding. It feels like a sonic journey through abandoned clubs, rain-soaked streets at night, and introspective spaces. At times the production is primitive and repetitive, but that’s part of the aesthetic, and it works. This isn’t music built around hooks or choruses; it’s designed to create space and mood. Some tracks get a bit lost in the haze, but there are several clear highlights. “Wilmot”, with its strange yet catchy calypso twist, and “Ballad of Nicky McGuire”, which feels cinematic and brooding. Haunted Dancehall isn’t something I’d put on for just any moment, but when the mood is right, it really lands. A curious, understated, and atmospherically rich electronic album that still feels fresh today. 4/5

I really appreciate Eminem’s mix of humor and extreme seriousness, it’s that contrast between the self-ironic and the deeply personal that makes the album compelling. It’s incredibly well produced, and Dr. Dre’s influence is clear throughout: the beats are sharp, heavy, and highly effective. There’s no doubt this is a classic in American hip-hop, and Eminem’s technical skill is undeniable. But even though I respect its quality and impact, it’s not an album I would include in my own vinyl collection. It sits somewhere between admiration and personal distance, and for that, it’s a 4/5.

Goldfrapp’s 2000 debut is a dreamy and cinematic album blending ambient electronica with cabaret and classic trip-hop. Alison Goldfrapp’s vocals float elegantly over the stylish arrangements, but the album’s slow pace and theatrical tone become a bit too polished and distant over time. At moments, it even drifts into circus-like territory, and the cabaret elements can feel overpowering. Beautifully produced, but lacking the emotional depth and edge found in artists like Portishead and Björk. 3/5

A refreshing take on what punk can become when it’s elevated by more musical and experimental ambition. Real Life builds on punk’s raw energy but adds layers of intelligence, melody, and arrangement that make the album both exciting and accessible. While there’s darkness and edge, it never becomes too heavy, there’s also light, rhythm, and a sense of innovation. A strong debut and a key release in the post-punk movement. 4/5

This album is a product of its time, the 1980s’ experimental flirtation with synths and drum machines. Despite its decadent atmosphere and club aesthetics, it lacks musical depth and variation. Only “Tainted Love” stands out and saves the record from total obscurity. The rest feels monotonous and dated, both in sound and expression. For synth-pop enthusiasts, it may hold some historical value, but for me, it’s mostly noise from a bygone era. 1/5

One of the ultimate rock masterpieces of the 1970s. With Who’s Next, The Who strike the perfect balance between classic rock and technological innovation. From the very first seconds of Baba O’Riley, the groundbreaking synthesizers blend seamlessly with Pete Townshend’s signature guitar, Keith Moon’s explosive drumming, and John Entwistle’s heavy bass. Tracks like “Behind Blue Eyes” and “Won’t Get Fooled Again” show the band’s ability to balance sensitivity with stadium-sized anthems. Roger Daltrey delivers some of his finest vocal performances here. Although the album originated from an abandoned concept project (Lifehouse), Who’s Next stands as the band’s most focused and cohesive release. This is 70s rock at its best: hard, melodic, progressive, without being pretentious. 5/5

There are albums where chaos feels liberating. And then there are albums where chaos becomes so overwhelming that all sense of direction disappears. Now I Got Worry unfortunately falls into the latter category for me. The Jon Spencer Blues Explosion tries here to distill their scrappy blend of blues, punk, and noise rock into something raw and energetic, but the result mostly feels like a loose jam session without clear direction. There’s plenty of attitude and bravery, but the songs drown in muddy production and a constant sense of unrealized potential. There are a few moments where the chaos hits something interesting, for example, in tracks like “Chicken Dog” or “Wail”, but overall, I miss a clear thread or just some basic musical coherence. It all feels too random and unfocused. The boldness and uncompromising attitude push the album up to 2 out of 5 in my book. But honestly, it’s an album I leave feeling more frustrated than fascinated. 2/5

Yet another album of its time. There’s plenty of energy and attitude, but once again I feel like time isn’t on my side. I probably should have more of a connection to the 80s to fully appreciate this. That said, the spirit and drive are undeniable. 3/5

Tina Turner simply isn’t for me, and this album leans just a bit too far into the mainstream for my taste. Technically, Tina has a fantastic voice, no doubt about that, but I’m clearly not her target audience. The songs feel polished and radio-friendly, but without really grabbing me. 2/5

Still funky and atmospheric, even though the album is more subdued than much of Curtis Mayfield’s other work. The melancholic tone and socially critical lyrics give the album depth, yet it never loses its groove along the way. A strong and atmospheric record that works both as a political statement and a musical experience. 4/5

The album has a cool, heavy sound with intense tracks and a solid groove. The dual bass guitars create a unique, dark foundation, and the overall atmosphere is consistently dark and industrial. But while the sound works well, I miss a bit more variation, especially in the vocals, which tend to feel a bit monotonous over time. 3/5

Even though I’m not really into punk, I have to admit this album surprised me in a good way. It’s simple and raw, but there’s a lot of energy and charm throughout. The songs are short and straight to the point, and while there’s not much variation, it actually works well. Tracks like Blitzkrieg Bop and Judy Is a Punk really stick. I’m not a punk fan, but Ramones' debut has something special. Full of energy and a solid album, even for someone who’s not usually into punk. 4/5

There’s no denying this album is a powerhouse of energy, an explosion of raw rock ‘n’ roll that tears through everything in its path. Jerry Lee Lewis delivers an insanely intense performance, and it’s easy to see why it’s considered one of the wildest live albums ever recorded. But the style just doesn’t resonate with me. It feels too chaotic and dated for my taste, and while the energy is infectious, I’m glad rock music has evolved in other directions since then. 3/5

A cozy album that creates a great vibe. It’s less political and bombastic than Innervisions, but instead warmer and more reflective. There’s room for both groove and contemplation, and Stevie still maintains an impressively high level. 4/5

A pretty cool album. It feels like Kraftwerk meets new age and synthpop, cold, clinical, yet catchy. The production is tight, and the atmosphere is futuristic without losing its human touch. A pioneering record that still holds up today. 5/5

Vol. 4” marks a new phase in Black Sabbath’s career. While it’s still heavy and dark as expected, there’s a clear desire to experiment and break away from their own formula. Tracks like “Supernaut” and “Snowblind” deliver classic Sabbath riffing with loads of energy, while “Changes” shows a more vulnerable and melodic side of the band. The album isn’t consistently strong all the way through, but the musical highlights hit hard, literally. Sabbath proves here that they’re not just painting in black, but also with shades of grey and unexpected colors. A bold and creative album that deserves its place among the most important in the band’s discography. 4/5

A raw and authentic album that sounds like both a declaration of war and a history lesson in Black America. Chuck D’s authority and the Bomb Squad’s chaotic production make it an intense and uncompromising experience. The album is packed with political messages and cultural power, and it still holds up today. 5/5

A beautifully understated and jazzy record, with a mood that’s intense and deeply genuine from start to finish. Nina Simone’s vocal is extreme, raw, vulnerable, and utterly captivating. Every track feels like an open soul. Highlights include “Wild Is the Wind” and “Four Women,” both powerful and unforgettable. 5/5

I get why this album is considered a milestone, especially for its lyrical strength and Dylan’s shift to electric rock. But personally, it still leans a bit too much into that folk-singer territory for my taste. I respect his influence, but it doesn’t fully grab me. 3/5

I’ve always been a fan of this album ever since I first saw the film. The soundtrack fits perfectly with the film’s atmosphere and the quiet monologues. It’s melancholic, beautiful, and almost hypnotic in the way it supports the story. You can’t really get the full experience of this album without having seen the movie, the two are inseparable. 5/5

This one’s not for me. I actually like Einstürzende Neubauten in general, but Kollaps is just too much. Too raw, too chaotic, too little actual music. I respect the idea and the experiment, but I don’t want to listen to it again. 1/5

I don’t dismiss it. It’s a well-produced album with rich, atmospheric sound and a strong urban vibe. It works well as a kind of soundtrack to a night in the city, and the production is top-notch. It may get a bit trivial in places, but overall it’s a solid and enjoyable listen. 4/5

Ahhh, I’m torn. The sound is quite cool at times, the fuzzy guitar and garage rock vibe hit something raw and real. But it also gets too punky and vocally monotonous for my taste. The energy is there, but it lacks variation and depth. 3/5

Mudhoney delivers a raw and gritty dose of grunge that oozes underground energy and distortion. The record thrives on its attitude and noise, and it’s that uncompromising approach that makes it both fascinating and difficult. The sound is consistently loud and fuzzy, and while that works well in short bursts, especially on tracks like “Touch Me I’m Sick”, it can be hard to stay engaged for the entire release. There’s not much variation, and it takes a certain love for noise rock to truly enjoy the whole thing. Still, there’s something charming about its imperfections. It’s an honest snapshot from a time before grunge went mainstream, and it deserves credit for that. 3/5

After the innovative and darker Origin of Symmetry, Muse continued down the road of grandeur and mainstream appeal. Black Holes and Revelations is undoubtedly well-produced and technically impressive, but for me, it loses much of the edge and experimental spark that once made the band exciting. There are big ambitions and plenty of pomp, but also a sense that everything has become too polished and too calculated. The album has its moment in “Map of the Problematique,” which stands out with its dark, electronic atmosphere. The rest, unfortunately, fades into the background and feels more like empty volume than genuine impact. 3/5

Richard D. James’ debut under the Aphex Twin moniker is nothing short of a masterpiece. Selected Ambient Works 85–92 isn’t just an album, it’s an atmosphere. A dreamscape. A deeply emotional electronic journey that somehow sounds both alien and intimate, timeless and futuristic. From the opening track “Xtal,” you’re pulled into a lush, otherworldly space where chopped vocal samples drift over soft, breaky beats and warm pads. “Tha” strips things back to an almost hypnotic state of minimalism, while “Heliosphan” injects melody and groove without ever losing its emotional weight. Tracks like “Ageispolis” and “We Are the Music Makers” feel like nostalgic transmissions from a parallel dimension. What makes this record special is its humanity. Despite being made entirely with machines, it resonates on a very human level. There’s no flashy production tricks or overworked layering, just a raw, honest, and surprisingly gentle approach to electronic composition. It’s rare to find music that feels this immersive and replayable. Selected Ambient Works 85–92 is the kind of record you live with. The kind you put on at 3 a.m. and suddenly feel understood. A landmark release that’s still lightyears ahead of its time. 5/5

The self-titled debut from Gorillaz was nothing short of groundbreaking when it dropped in 2001. A virtual cartoon band created by Blur’s Damon Albarn and artist Jamie Hewlett might have sounded like a gimmick, but this album is anything but. It’s a fully realized, genre-bending project where hip-hop, dub, lo-fi, Britpop, and electronica collide in a way that felt completely new and exciting. The album is soaked in a moody, laid-back atmosphere, quirky and off-kilter, yet surprisingly focused. Tracks like “Clint Eastwood”, “Tomorrow Comes Today”, and “19-2000” became instant hits and showcased the band’s ability to blend heavy beats with catchy melodies and charismatic character. Dan the Automator’s production is both gritty and stylish, like a dusty record found in a futuristic world. Combined with Albarn’s unmistakable vocals and a cast of guest features, the result is a kaleidoscopic but coherent listening experience. Gorillaz managed to create a new kind of pop music, wrapped in a complete visual identity, and it has had a lasting impact on how music and aesthetics are connected. This is not just a strong debut, it’s a landmark album that still sounds fresh today. 5/5

Microshift marks a clear stylistic shift for Hookworms, moving away from noise rock and garage energy towards a more polished, synth-driven sound. The krautrock influence is strong, and there are definite echoes of bands like Stereolab. The production is sleek and carefully crafted throughout. Tracks like “Negative Space” and “Ullswater” build hypnotic atmospheres with looping structures and extended arrangements. There’s an artistic ambition here, emotional depth, themes of grief, loss, and mental health, expressed with clarity and intention. But despite its emotional weight and sonic elegance, Microshift never quite grabs hold. The songs tend to blur together, and while the synth textures are beautiful, the album ultimately lacks variation and edge. It’s an album that’s easy to admire, but harder to truly love. Impressive in sound, but a little… dull in the long run.