i'm a huge fan of their post-punky sound, but siouxsie's voice takes me out of it, somehow.
a mixed bag of corny lines and good turns of phrase. the beats are servicable.
an engaging, dynamic jazz album with an impressive dialogue between flugelhorn and piano.
an emblematic piece of 70s folk rock - acoustic instrumentation with an eager wind section
what stands out most to me in this record is the drumming - complex, catchy rhythms underpin almost every song. but otherwise it doesn't do much for me; tracks overstay their welcome in pursuit of a buildup where the payoff isn't always worth it.
peaked at the first track - the 10 minutes psychedelic excursion was the highlight of the album. the funk side wasn't nearly as gripping.
heartland rock with lots of character and energy. springsteen's energy is infectious; it's hard not to feel invigorated after listening to this album.
it's called bayou country because it dunks you into one. please bring me back to land. (the blues guitar is servicable, but not particularly impressive in the modern day. and especially as a non-american, music with a strong country influence is more of a miss than a hit; the country-adjacent music i like, i enjoy in spite of the country elements in their work.)
energetic, youthful punk rock full of the countercultural zeitgeist of the landscape from which they emerged. it feels like it could have been elevated even further to be truly incredible.
tacky and trite lyrics dripping with era-typical misogyny + overwrought delivery + unremarkable instrumentals. get me out of here.
it's finally something i've listened to before! (i've listened to around 10% on the albums on this list for what its worth.) r.e.m. was always on my radar for a period of time, but i never picked them up until recently (think, like, three days before writing this review). i picked this album as my first foray into their expansive discography because i heard a cover of "the one i love" from a very early sufjan concert while he was touring michigan/seven swans (so, prior to the release of his most acclaimed album illinois, which i'm also looking forward to getting as my album of the day from this website). i was intrigued and decided to give it a shot - and i enjoyed this album a lot more than i expected. "the one i love" is my favourite off this album, but i also enjoy the entire package of post-punky guitars, pleasing vocals and witty lyrics. i'm a huge fan of the tracks with a moodier sound; probably a deeply unpopular opinion but "it's the end of the world as we know it" grows more annoying as i listen to it once more.
70s weezer with better lyrics.
i've never really dipped my toes into non-instrumental hip hop (so, i'm familiar with the likes of dj shadow or j dilla, but not ice cube) but this was a fun listen, with good flow and wordplay. i also appreciate the skits being shorter here compared to some other hip hop albums.
quite possibly the most renowned breakup album, but i was unparalleled levels of drama throughout every track. other than the few tracks with clear country influence, it was a really enjoyable listen.
how fitting that this is my album of the day on the day of brian wilson's passing. like many, i'm only familiar with pet sounds; a deep dive into their legendary discography is long due. the album is impressive, especially for its harmonic complexity, but it's sadly standing in the shadow of pet sounds, which is the fully realized version of the sound brian wilson was going for in this record. (also, what's with that unnecessary last track?) absolutely mad that this was recorded on a 4 track. RIP Brian Wilson - your legacy will be forever bright.
i heard this several months ago and fell asleep to it. let's see if it holds my attention this time... trip hop is a hit or miss genre for me. i adore massive attack's mezzanine and enjoy most of their 90s output, along with tricky's maxinquaye. but the appeal of dummy has always eluded me. i wonder if it's the textures. i appreciate it for its ambition more than actually enjoying it.
loveless didn't really click with me the first time i listened, but i'm able to better appreciate its textures now. but when it comes to shoegaze, i tend to prefer much smoother sounds than this.
despite the chaotic, in-your-face loudness of the cover, its sound is rather subdued and orderly; eric clapton sings over consistent rhythmic instrumental lines. there's a bit too much repetition - some songs can definitely be trimmed down - but it's still a good listen.
90s britrock, emblematic of the time it came from.
70s blues rock. surprisingly fun.
don't trust anyone who tells you that this is bad or too chaotic. the drums are lightning fast but methodical and rhythmic. the two saxophones may be screaming for their lives but they still have their moments of relative calm. it's fun!
everything this album is striving towards has been done better before them.
every repeated listen brings a new detail to the forefront - an interesting texture i missed the previous time, or something subtle hidden beneath the layers of harmony.
a bit too quirky.
now that's what i call country music. the energy of this live album (performed in a prison for inmates!) is unmatched; it's witty, catchy and you can tell just how much the audience are eating it up.
this album feels like it should be right up my alley, but it feels too lush and peaceful. too much of a good thing?
proto butt rock. 👎
i'm a huge fan of their post-punky sound, but siouxsie's voice takes me out of it, somehow.
the album doesn't stray too far from its core sound and ends up slightly too long, but it's still a great listen
it's surprisingly good. gotta hand this to them
an extremely unique album fusing jazz improvisations, folk instrumentation and a dark, foreboding atmosphere. it manages to pull this off excellently especially on "alifie". when it clicks, it clicks.
quirky synth album; deeply rooted in 80s futurism and its influence in current retrofuturism is strong. i would prefer more varied synth timbres though.
the massive issue i have with the album is that while adele's voice is clearly impressive, that's really all that the album has going for it; it's otherwise bland and uninspired, especially when it comes to the production, and the songwriting isn't exactly a homerun either. but i suppose that's what gives this mass appeal - a general public trained to venerate vocal ability above all else thanks to shows like american idol and the voice, horoscope-vague song lyrics and easily digestible pop ballads.
it's kind of like watching a harmless hognose snake flatten to mimic a cobra.
not as bad as expected, but "goon squad" is unintentionally hilarious in 2025.
too long. impressive musicianship though.
yes. it is it (highly overrated)
lives up to its name - listening to this album is like floating in a half-asleep dreamlike state, pleasant and untethered to reality.
fun and carefree.
it's pretty interesting but there are one too many indulgent guitar solos (an inescapable part of this genre, i suppose.)
fantastic rock album with real heart.
i just don't get reggae.
it may be hypocritical of me to question why this album is so long when some of my favourites run past the 70 minute mark just like this, but... why is it so long?! it's really more for the jam band fans at this point; there isn't enough meat to justify this run time.