Had never heard before. ⭐️⭐️⭐️⭐️ Excellent and thoroughly enjoyable. Contains a certain quirk in places, that breaks up what otherwise could become a dull overall listen. Quite serious in others. A sea shanty popped up third. The approach of the album made me think of someone like Harry Nilsson, except with little more theatrics and/or Americana storytelling.
A classic. Have loved this one for a long time.
Pretty good. I thought it would be better, given its status as a classic. The title track is obviously iconic, the others are kinda wallpaper.
No words. The best album ever!
Not for me, personally. I can hear it’s solid, well written and executed. I’m not a fan of fiddles or weird alt-country by former punks, but here we are.
Look, I get it. It’s a classic. The musicianship is nuts — Navarro in particular is off his rocker in the best way. But Perry’s vocals never quite hit for me; too much theatre, not enough nuance. Still, this album oozes sweaty, chaotic, late-‘80s LA energy. It’s a mood — just not always mine. Feels like the official soundtrack for American dudes who quote Fight Club and still call it “my truth.”
This is the very definition of “classic” — not just because it’s old and revered, but because it still kicks like thunder. Every track is iconic in its own way, from the blues swagger of ‘Black Dog’ to the god-tier apocalypse of ‘When the Levee Breaks’. Even ‘Stairway’ — overplayed as it is — still towers. This isn’t just a band at their peak, it’s rock itself crystallising into legend.
I’ll be honest — I went into this expecting “Come On Eileen” cosplay and came out feeling attacked by brass. I’d written Dexys off as one-hit wonders, but this debut? It’s an entirely different beast: loud, frantic, and wildly committed to being very horny (musically). Kevin Rowland delivers every line like he’s either being exorcised or urgently trying to clear his throat. Spotify doesn't even know the lyrics — probably because no one’s ever managed to decipher them. Did this influence The Mighty Mighty Bosstones? Feels spiritually adjacent. But for me? Bit much. Way too much horn, not enough harmony.
Never heard this one before, and honestly? Loved it. It’s twitchy, atmospheric, and full of that irresistible gothic drama — all smoke, shadow, and slow panic. The production is murky as hell (like the band set up a studio in a crawlspace), but it works. It’s cold and stylish and just weird enough to stay interesting. A gloomy little gem that connects the dots between Ian Curtis and every black-clad post-punk band that followed.
Have never liked her — but maybe I’m beginning to start. Weird thing, taste. Björk’s always been a bit much for me — too squeaky, too kooky, too… Icelandic goblin queen. But Debut caught me off guard. It’s gentle, glitchy, and not nearly as impenetrable as I remembered. Tracks like ‘Human Behaviour’ and ‘Venus as a Boy’ have a curious charm, like someone whispering riddles through a lava lamp. I’m not all in yet, but I’m peeking through the curtain — and it’s starting to make sense.
Another one that’s not for me, in fact bu the time it got to ‘Naked Man’ (track 9), it started to properly irritate me.
God, this is good. Damon was in his “between things” era — Blur on pause, Gorillaz riding high — but The Good, The Bad & The Queen doesn’t feel like a side project. It feels like a mood. Floating, reflective, faintly haunted. A little punk, a little dubby, a little London ghost story. Backed by an actual supergroup and produced by Danger Mouse, it could’ve been a Gorillaz record… but it isn’t. It’s something slower, sadder, and deeper. Quietly brilliant.