I missed the boat on Bowie by virtue of being born in 1995, hence only ever listened to Space Oddity, Life on Mars and Lets Dance growing up. That's one disadvantage for me; the other disadvantage being that this album is inextricably tied with Bowie's unfortunate passing almost exactly in tandem with this album, hence the challenge of reviewing this album independently from its essential context, which only adds emotional weight to this already rich and dense album. Objectively, this album is beautiful. The lyrics are very Bowie, as far as I can tell, and that can rub people the right or the wrong way. For example, my favourite track 'Tis a Pity She Was a Whore is astonishingly gorgeous and lush and tense and energised, but I can't really defend the lyrics on it. The melody and arrangement eclipse the lyrics, and I find a similar result on the other tracks. I can arrogantly imagine an alternative version of this album where Bowie wrote more "normal" yet interesting lyrics that would make the album impress me even more. Overall, this is an astonishing piece of work that should have felt rushed given Bowie's impending death, or sloppy given his deteriorating health, and yet feels like neither. Ultimately, I find I can happily listen to this on repeat, which places it among the albums I hold closest to my heart. Highlight: instrumental intro to 'Tis a Pity She Was a Whore

First three songs have by far the most listens on Spotify, and I was concerned listening to them by how dated they sound. All I could picture was that dancing Pikachu meme. I am so glad I persevered; track 4 - Let's Pretend We're Married - and all the following tracks were so much more interesting and entertaining. The remainder of the album is much the same, but ends on a particularly great track with International Lover. It makes a slight change to the song structure I've come to expect and it a very satisfying finisher.

Not the most original sounding band, but the confidence and sincerity of the singer's voice means I can't help but take it seriously. Unspectacular but fun.

Eh I'm not getting it. I fondly remember the opener for its use in House MD, but it didn't click for me this time. The rest of the album made a satisfying change from the opener (god can you imagine if it had all been like that) but still didn't blow me away. Can't be bothered to come back to this one, even if it is a classic.

My reading tells me Smith popularised the Hammond Organ at a crucial point in music history, which would eventually lead into its use in my beloved Progressive Rock of the 1970s. This earns my respect and appreciation even before getting deep into the album. The format is slightly outside of what I typically look for in music and ends up more on the 'easy listening' end of the spectrum for me. Objectively great instrumental work and a transportative vibe to its era bring a lot of enjoyment for me. Nonetheless, I find my attention drifting from it, which is generally my response to a lot of jazz, hence I cannot specifically fault this album for it. No complaints whatsoever, but I can't see this album sticking with me for long.

I really like the slightly jarring sound effects in the intro and at the start and end of Fertilizer for framing the lush musicality of the other tracks; wonderful musical palate cleansers. The mother's interlude is certainly more entertaining than on Blonde as well. My favourite track has to be Super Rich Kids. Great work from Earl Sweatshirt. The driving piano is so pretty and works so well as a platform for all the other sounds to sit upon. Pilot Jones and Pyramids don't really do it for me quite as much; or indeed the second half of the album as a whole.

Alright

Woo this album slaps! Lots of variety to each track keeps the album listening experience fresh.