Wu-Tang Clan ain't nothin to fuck with, that's for sure. One of the OG hiphop supergroups coming out of the gate with a very good grasp of their own lyricism and catchy rhythms. Uncontroversially one of the finest west coast rap albums to come out of the 90s and it's aged far better than a few of its contemporaries (if you ask me, its slightly messy/dirty production and fluctuating quality between tracks gives it a lot of charming character and authenticity). Not a fan of the skits (as usual) but obviously very common considering the era. This one gets the money. (Also I swear that Breathe by Prodigy samples the same movie sample as at the start of Chessboxin'. Wikipedia seems to claim that the popularity of the song is also what brought Chessboxing into the public conscious in the 90s which is very funny if true) Best tracks: CREAM, Tearz, 7th Chamber Pt. 2

4.5/5 - Great album, moodier/more fun than I expected and way ahead of its time.

I genuinely dislike Bat Out of Hell. The heart loathes what it loathes.

Good music, but not much to add. Very much of its time I guess.

Fine soul, and mighty-fine work Mr. Redding. Groovy.

Fun one - feels ahead of its time in a lot of ways. Clean lyrical delivery (clean as in 'clear', definitely not clean as in 'suitable for a bar mitzvah) and great sample flips (never realized Can I Kick It is repurposing Lou Reed!).

Probably can't be too objective about this review as it's so entirely outside of my usual wheelhouse (which is the point of this whole experiment, I guess), but I won't be listening again.

Easy-to-listen-to big band staples to get your grandma dancing to. Charles has such character in his voice and orchestration.

"It can't be helped," he said, nodding at the bulldog girl. "This is Lucy." He laughed distractedly. "You know -- like Lucy in the sky with diamonds . . ."

Funny that a band named for such a terrible colour band would make such a terrific rock band. No wonder Dad doesn't listen to new music. Fav track: Hard Lovin' Man

Dusty has a great voice for what she does, but what she doesn't do is it for me.

Greatest contrast between album cover and track quality we've ever witnessed. Good work Maryland John Mayer. Fav tracks: The Wind and The Dove, All Thoughts Are Prey To Some Beast

Lacking Substance, but otherwise I always welcome the New Order. Very much 'of its time' in a good and bad way. Highlights of Lowlife: The Perfect Kiss

Wu-Tang Clan ain't nothin to fuck with, that's for sure. One of the OG hiphop supergroups coming out of the gate with a very good grasp of their own lyricism and catchy rhythms. Uncontroversially one of the finest west coast rap albums to come out of the 90s and it's aged far better than a few of its contemporaries (if you ask me, its slightly messy/dirty production and fluctuating quality between tracks gives it a lot of charming character and authenticity). Not a fan of the skits (as usual) but obviously very common considering the era. This one gets the money. (Also I swear that Breathe by Prodigy samples the same movie sample as at the start of Chessboxin'. Wikipedia seems to claim that the popularity of the song is also what brought Chessboxing into the public conscious in the 90s which is very funny if true) Best tracks: CREAM, Tearz, 7th Chamber Pt. 2

Jack White is still Jack White, but Blunderbuss is missing the crunchy, drowning, iconic alt-rock sound of the White Stripes, and that's to it's detriment. Without that frenetic, bassy energy this one's a little forgettable. Fav tracks: Love Interruption

Legendary album that deserves its many flowers. Like any Nirvana project there's no misses in the tracklist, and it's doubly-so impressive for being one of the most iconic one-take live albums ever recorded. Love Kurt's raw intensity in his voice and delivery, Grohl's iconic drumwork, and Novoselic with one of the few acoustic bass performances that actually works. Really can't sing this one enough praises. Favourite tracks: Where Did You Sleep Last Night, Come As You Are, The Man Who Sold The World

Pleasantly surprised by this one, since I'm not a big k.d. lang fan nor much one for Country in general. The cool, slow, stirring warble of the guitar is a bit of a one trick pony on the album but just avoids overstaying its welcome. fav tracks: Busy Being Blue

One of the best to ever do it. Really, really dance-able. fav tracks: Don't Stop 'Til You Get Enough, Rock With You, Off The Wall

I'm going goblin mode for Depeche mode. fav tracks: Sacred, Little 15, Pimpf, Nothing

the Chronic deserves every bit of praise it's received over the decades since it's release. The skits are a little annoying, especially upon relisten (DEEZ NUTS being an obvious exception) but otherwise Dre can kick it. fav tracks: Nutin' But a G Thang, Rat A Tat Tat

I observe the Sabbath and am mightily impressed. Weird and wonderful. fav tracks: Wheels of Confusion, Children of the Grave

ZZ Top are not pushing the genre to any strange new places, but everybody's a little crazy for a Sharp Dressed Man. True to form it's classic, unpretentious, slightly-goofy 80s rock that knows what it wants to be and delivers it, even if it's pretty forgettable. Fav tracks: Sharp Dressed Man, I Need You Tonight

Music to collect Secret Tapes to (affectionate) Fav songs: Among The Living, Stuck In A Mosh

Nice listening but to my ear it sounds like we have Oasis at home. Fav songs: Rob's Theme

A fun listen, you can hear the Dylan-esque vibes in almost every track. Hard to pin down genre-wise for better or for worse, but the interesting use of instrumentation keeps it feeling fresh. Seems like the kind of sentimental album that would hold up better after multiple re-listens on a cozy springtime car trip but unfortunately we have 1001 albums to get through. Fav tracks: The Weight, This Wheel's On Fire

Fiona Apple has an excellent voice and a wonderful production underneath it - the (flattering) Bjork comparisons have been made many times before but it's hard not to taste it even in her debut work. While it's not a life-changer for me I can see how listening to this album a couple times as a depressed teen would make it somebody's lifelong favourite (it has that 'it' quality about it). fav tracks: The First Taste, Criminal, Never Is a Promise

It's unapologetically Cat Stevens, folksy as it is. Like many albums of its acoustic-folk-rock ilk it suffers from having a few too many forgettable/unremarkable songs among its tracklist, but it's worth the listen for Father and Son alone which is a timelessly beautiful ballad to generational change so relevant at the time. Fav tracks: Father and Son, Longer Boats

Endtroducing is a plunderphonic masterpiece. It's known historically as the album that truly legitimized the sample-flip on its own terms, but beyond that its legacy as inspirational and endlessly re-listenable can hardly be overstated. Endtroducing has been favourably called the Hip/Trip-Hop equivalent of a Velvet Underground or Aphex Twin and there's hardly a greater compliment. Deep, rich, organic, and boundary-pushing, these tracks feel like deep meditations on sound and a love letter to music as a whole. We'll never get an Endtroducing again, not just because clearing all these samples would be a financial and logistical nightmare in the 21st century, but because this album was too far ahead of its time. fav track: [all of them], Short Stem/Long Stem, Building Steam..., Midnight In A Perfect World

Kind of a hard album to like, to be totally honest. Very mom-and-pop radio station, 'school disco' music. Had a couple tracks I liked but overall the glam rock whiny-voiced schtick was (rightly) worn out decades before this dropped. There's some promise in the funkier basslines (Filthy/Gorgeous comes to mind as having that The Trammps sound) that get drowned out by overperformed vocals and uninspired instrumentation/composition. fav tracks: It Can't Come Quickly Enough (actually really liked this one at least, even if it's a real tonal shift)

Pretty much a best-of Metallica album. The synthesis of an orchestra with the metal sounds (alongside the impressive length) makes the album feel suitably full and grand - they gel together pretty well. It being a live album is for once an enhancement to the sound, too, as it gives that 'crowded venue' feeling that suits the enormous scale of the thing. That said, it's two straight hours of Metallica fanservice and doesn't really have much of interest to offer for anybody else.

An album deserving of its status and importance amongst the Rock canon. Endlessly re-listenable and hard not to enjoy. only really suffers mainly from something akin to the Seinfeld Effect, where the sound has been so over-replicated it's missing its originality upon listening half a century later. fav tracks: Lazing On A Sunny Afternoon, Bohemian Rhapsody

Some of the most impressive, creative sampling/mixing to come out of the decade and very ahead of its time. A very impressive synthesis of a lot of genres, too. It's a pleasure to hear the kind of comedic, self-aware, creatively witty, cleverly crude lyricism in rap that pretty much died out. Has its peaks and valleys upon a relisten (especially in the first half of the album) but it's got some of the best peaks in hip hop. It's a little underdeveloped compared to their later stuff but this is guaranteed party music and genuinely capital-F Fun. fav songs: Fight For Your Right (To Party), No Sleep Till Brooklyn

Hard to hate, but not easy to like either. Mostly unexceptional.

Cash: entering the hallowed halls of Jeff Buckley and Alien Ant Farm as 'cover artists who unequivocally surpassed an already classic original'. Musically it's good, not exceptional, but Cash's voice has been refined to the perfect, smoky edge by this point in his career and it's practically unmatched. fav tracks: Hurt, I Hung My Head

Great hip-hop and nothing but pure hip-hop. Some really... 'interesting' lyrics (like, goofy) that bring down the overall production but otherwise a fun album. fav tracks: What You Want This Time

Trent Reznor brings us all Closer to God. Abrasive, spiteful, precocious, furious, nihilistic, political, libidinal, provocative and desperate - there's not much you can really say about one of this album that hasn't already been said in the last three decades. The industrial, noisy, experimental, and LOUD sound makes it a difficult listen on the first spin (as it did for me as a teen, years before the return) but it's a "turn-the-volume-up" classic for a reason. The sound also holds up impressively well for something of its age: for better or for worse many of its contemporaries in the industrial/electronic space have this old-school vintage feeling to it. The Downward Spiral, on the other hand, sounds like the kind of album that could have come out yesterday. That said, the album is very much in the thematic line of that post-ironic post-modern 90s thing that you could only really capture in the last decade of the 20th century. It's pretty cheesy these days to over-mythologize it, but you can taste the same furious spirits on the wind of Cultural America that Cobain was struggling with. It's no surprise them that he took his own life a month after this dropped. NIN is in many ways the American cousin to Radiohead: where Yorke and crew tackle the pre-milennial angst of the new era and the hauntological spectres of the new-old with the cold bent of the British psyche, Reznor violently rebels. Listening to it again now I can hear the nervous, darkly comedic, coming-to-self-awareness hiding behind the brash overconfident lyricism that I missed back when I was 20 and drowning in Lynx Africa and angst. Beneath the fear and loathing is Reznor as a deeply troubled, vulnerable character. You kind of have to peel back a lot of layers of edge to see that though, methinks. Listening on it again I reckon the pull-back to nothing but the piano at the end of Closer - going from this everything-against-the-wall tsunami of harsh noise immediately into a somber, deliberate, contemplation over a few echo-y orphaned notes - is probably my favourite track end in music history. A top 5 album of all time for me and on re-listen that hasn't changed. The razorblade edgy angst of that part of my life has gone now, but I keep the fondness for that devil-may-care flipping-the-bird attitude. fav tracks: [the whole thing], Closer, Piggy, Hurt

The Smiths are an acquired taste (I like them, though). Good album, but I still prefer Morrissey's lyricism over his voice. Some great bass guitar work too, especially that funky-as-hell riff on BBAH. Fav tracks: This Joke Isn't Funny Anymore, Well I Wonder, Barbarism Begins At Home

Have listened to this album a few times and I'm convinced I'll never really 'get' it. I assume that in 1967 this was blowing people's socks off. Must be a 'me' problem since I believe the people who say it's so good.

It's good! Good flow, good production, good vibes.

"Making friends on the Disney Cruise by telling them I love Belle and Sebastian" - Ryan Letourneau fav tracks: Like Dylan In The Movies

A good rock album. Chrissie Hynde has a great voice for this that might have benefitted from leaning slightly more in the punk-ish direction but it's already a great listen. fav tracks: Tattooed Love Boys, Mystery Achievement

Half Sonic Youth, half Nirvana, 100% 90s angst. Have a nostalgia for a couple of these tracks from the Guitar Hero days and from drunken background-listening at early-20s house parties, but really the whole album has held up incredibly well in every aspect. fav songs: Today, Disarm, Quiet, Soma, Geek U.S.A.

Fun acid house, if a bit cheesy in places. Loses some of its magic, by my ear, by being played through headphones on the way to the white-collar office job, rather than being blasted via ten foot-tall subwoofers in some filthy scouser club basement while off your face on mitsubishis. fav tracks: Madrugada Eterna, The Lover's Side

Certainly not bad - it's well-produced, well-sung, and well-played - but there's really nothing of substance I liked here. Feels a little like lounge kitsch. Music for airports but not the cool ambient kind. fav tracks: I've Got to See You Again

Legendary riff after legendary riff. Great hard rock album, and Eddie's masterwork on the guitar is pretty obvious from the start of their career. Not much variation on the tracklist, but why mess with a good thing? fav tracks: Runnin' With The Devil, Eruption/You Really Got Me, Ain't Talkin' 'Bout Love

Who doesn't love a little CCR? Supremely fun, danceable music. Not *quite* as good as Cosmo's Factory, but then again what is? fav tracks: Born on the Bayou, Graveyard Train

This one's a classic banger for a reason. A bit inconsistent in parts with particular tracks not reaching the heights of its best in the first half (such as Hotel California, obviously), but it's great listening. fav tracks: Hotel California, Life in the Fast Lane, New Kid in Town

Really stuck on whether I prefer this or *If You're Feeling Sinister*, which was only a couple weeks ago in this project, but they're both excellent listens. fav tracks: Electronic Renaissance, Expectations, I Could Be Dreaming

So it turned out I listened to Throwing Muses' 2003 self-titled album instead of their debut as listed here. So I'll review that one instead. This one is all killer. Deserved an immediate re-listen. Maybe I'm just a sucker for alt rock, and naming your eighth album as self-titled is crazy work, but colour me thoroughly impressed by minute one from a band I'd never heard of before. fav tracks: Civil Disobedience, Mercury, Portia, Pandora's Box

We love you Fugazi. 'Repeater' adequately describes the sort of variety you'll get on the album but I love the hell out of it anyway. Very tightly written and performed for something in the hardcore/punk/thrash area of sound. fav tracks: Repeater, Merchandise, Styrofoam, Break-In

I'll be honest - I don't get Joni Mitchell. This has to be a me thing, since by all accounts she has a beautiful voice and is well-respected by so many professionals, but I couldn't picture myself listening to this again. fav tracks: Blue

The second-best album to have a pink and green typeface dominating the bottom-left corner and a guy in black and white with a guitar. Inoffensively fun listening music for the 50s with enough groovy staples to impress anyone and get them tapping their toes. I've never really groked on Elvis' warbling-twangy singing style but there's something timelessly beautiful about the 12 bar blues. Obviously there's gallons of ink spilled over Elvis' right - both artistically and ethically - to sing these tunes but from a purely musical perspective this one's great. fav tracks: Blue Suede Shoes, Tutti Frutti, Blue Moon

Third time listening to this one all the way through, and I'll admit it didn't really capture me at all the first couple times. I was expecting this run to not be any different. But it really clicked this time! It's pretty much wall-to-wall classics. Beautiful composition and lyricism and just about as good as songwriting gets, though admittedly like Dylan a lot of the covers in the proceeding 50-ish years have done slightly better with her material (which I guess is more a respectable testament to King's legacy). fav tracks: I Feel The Earth Move, It's Too Late, A Natural Woman

Sorry Adele, I didn't know your game. Some surprisingly impressive production on this album that veers into the unexpectedly fresh. fav tracks: I Miss You, Send My Love (To Your New Lover)

Bob Dylan continues to cook. Despite much listening to his catalogue over the years I'm still not a big fan of Bob's folksy vocal delivery but besides that this one's always excellent. Songwriting talent worthy of the many accolades piled onto his shoulders over the decades-long career. fav tracks: Shelter From The Storm, Idiot Wind, You're Gonna Make Me Lonesome When You Go

Great listen. There's something about the warm, nostalgic tone of the Hammond organ, which Jimmy Smith plays with such playfully light fingers here, that feels like a cold glass of iced lemonade on a hot summer day. At times on the album it feels like the bright brassiness of the sax drowns out Smith's playing, but I'm really just being pedantic. Will run through again. fav tracks: Minor Chant

I fucking HATE Vic Rattlehead. That fucking skull-skeleton asshole fills me with the burning rage of Lucifer. God I want to deck the freaky little fucker with the force of a thousand suns. I hate staring at his smug-ugly fucking toothy grin every time I want to listen to Dave Mustain's fat chugs. Put the 'thrash' in thrash metal. I want to cave in his cranium with a hammer so fucking bad. This fucker has haunted my nightmares my whole life and I am glad he is long dead (I hope it was painful). fav tracks: The Punishment Due, Hangar 18, Dawn Patrol

Dad rock, but *good* Dad rock. There's this broad, epic scope to each of these tracks that just feels so rich and meticulous. fav tracks: More Than A Feeling, Let Me Take You Home Tonight

Surprised by how new wave-y the earlier discography of U2 seems to be. You can hear Adam Clayton's chuggy bass lines and compressed, treble-y bass tone taking a lot of inspiration from Peter Hook of Joy Division, for example. I prefer U2's later stuff (Joshua Tree is an all-timer) but it's a shame U2 seems to have fallen from stardom as far as they have. The album's a bit hit and miss with its tracks, but otherwise a great listen. fav tracks: Sunday Bloody Sunday, New Year's Day, Two Hearts Beat As One

Clear as water, smooth as velvet and hard as diamonds. Thank the lord for music like this, as it must have been the only thing making running boats up and down the Mekong bearable. Bonus points for Ramble Tamble being this fun, experimental, trippy exploration of sound that gives goosebumps. This swamp-rock sound, so expertly done, makes the colors of the world feel more vivid when listening through. fav tracks: Ramble Tamble, Lookin' Out My Back Door, Run Through The Jungle, I Heard It Through The Grapevine

I once saw The The were selling tickets for roughly $150 to a world tour show over a year early. I've liked their music for a long time (particularly this album) but I found this a bit much for an indoor gig. Wish I'd gone now but I was never going to pay that. Also I get the band name is sardonic but it's a little too new-wave for my tastes. Nonetheless this is a really good album. Post-punk with a lot of groovy synthetic flair and a lot of lyrics about feeling guilty about wanting to kill yourself. This Is The Day in particular is a banger and I like the more experimental looping you get, especially out of the latter half. fav tracks: This Is The Day, The Sinking Feeling

I mean, OBVIOUSLY this has to be here on the list. It's be weird if the most commercially successful artist of the millennium (probably) wasn't. You can't really go into an artist like T-Swizzle with fresh ears. I'm pretty agnostic on Swift and didn't really come in with much bias except that I expected to be mildly amused, and wasn't surprised (especially considering most of the songs were already familiar enough). I'm not the target audience though, so I'm not exactly shocked either. Swift's first proper foray into pop is an overall pastiche of/love-letter to 80s romantic pop, but it feels like it misses its ironic depth of substance. On the plus side, it's a sound so clearly stapled to the mid-2010s and that fading sense of pop-optimism (poptimism?) that the era represents that it feels nostalgic looking back. You can see why she sold a gazillion albums - it's clean, listenable, inoffensive and ultimately easy radio music that's fun and familiar. 'Style' in particular was pretty great. it's great that Swift writes her own music and there's plenty of good hooks here. But it's not very *interesting*. Maybe it's an unfortunate time to be exploring this era in the back catalogue - too soon, perhaps, when the trends of a decade ago are always considered dorky. To badly paraphrase Guy Browning: "Your old coats and sneakers will come back into fashion only just after you've thrown them away". But 1989 also suffers the double-whammy of being so over-replicated since its release as well to the point that the sound lacks its verve to a modern listener. I once heard somebody say "Taylor Swift is life-defining music to the kind of people who don't listen to much music", and while I think it's a little harsh I can't imagine this one sticking out in this list at all. Then again, maybe elevating uniqueness on a pedestal is against the whole point of why we're here. The songs are a little catchy but I never found myself tapping my toes. Is it uninspired? is it cheesy? Maybe. But it's nice. And it certainly sells. I've tried, earnestly, with Swift over the last few years and I still don't get it. I *can't* hear what the hordes of fanatics are hearing and I'm not sure what I'm missing. The most clear 3/5 there could be. And just not for me, clearly. fav tracks: Style, All You Had to Do Was Stay, Wildest Dreams

Pour one out for the thousands of people that must have assumed their CD was scratched up after listening to the end of track one. This is definitely one of those albums that probably benefits from multiple relistens while in the right mood. Chugged through this one three times today and ended up appreciating what it was going for a drastically more on each relisten, but it only gets that privilege because their debut album Dummy proved that the juice is worth the squeeze. I really like the Bjork-style vocal delivery you get on tracks like Magic Doors that suits the experimental triphoppy strangeness they're aiming for. It's a good album and I like that they're having fun playing with audience expectations and deliberately subverting that familiarity, especially when it finds its groove in the latter half of the album. But it sometimes feels like it's doing too much. Like, I've always hated the abrupt end to Silence, otherwise my favourite track on the album. I do still reckon Portishead peaked at Dummy. But I wouldn't rate Portishead below 5. fav tracks: Silence, Plastic, Small, Threads

What's Dylan Grillin'? Because he definitely cooked on this one. Not quite as good as Blood On The Tracks but what is? fav tracks: Subterranean Homesick Blues, Mr. Tambourine Man

I'd drive with this driving crooner, baby. Nice songs for ethical non-monogamists. Also very funny there's a song about how having sex makes babies that was a chart-topper in 1956. Not much variety between tunes, but I'm not a jazz/swinghead so I'm probably missing something. The album lacks the dizzying heights of Sinatra's prior Wee Small Hours but this one's still great listening. As is often the case going through earlier albums it's refreshing with the shorter, more punchy track lengths here and the rich smoothness of the sound makes this feel like warm liquor on a cold evening. fav tracks: You Make Me Feel So Young, Anything Goes

I'm usually impressed by the Sir's work but this one was less exhilarating than his other albums. Still some very impressive writing/performing chops on display but there's a few too many forgettable tracks. That said, this one's still pretty great. fav tracks: Goodbye, Tiny Dancer, Indian Sunset

Great album. Janis Joplin's vocals are absolutely top class and overflowing with verve, and thankfully cut through an often (unfortunately) muddy mix and inconsistent sound. An energetic set of music to jam to, basically. I actually really liked this one and would definitely listen again but I found it a little too fickle (whatever that means). Not that it's a direct influence on the sound, per se, but the signature Robert Crumb art is also incredibly cool and distinctly of its era. fav tracks: Piece of My Heart, Ball and Chain

> Trouser Press described Kollaps as "one of the most shocking visions ever committed to vinyl." Yeah, sounds about right. Want to hear a story? There's an infamous legend about a performance of controversial composter Steve Reich's minimalist work 'Four Organs'. The 16-minute track, an extension of Reich's boundary-pushing experiments with (then-novel) synthetic music and atonal harmonies, features a quartet of electronic organs accompanied by a single, unyielding maraca. It's a wall of droning noise, slowly building layer-upon-layer of extended notes in an often bewildering and highly unusual arrangement. It was the tail-end of the Swingin' Sixties, and Reich was pushing the boundaries of classical chamber-hall music the same way that bands like The Grateful Dead, The Velvet Underground and Captain Beefheart were doing in the rock/band scene during the same era. Jazz, of course, had been doing so for even longer. So the tale goes, there was one particular 1973 performance of 'Four Organs' at the prestigious New York Carnegie Hall where it went weird. This wasn't the first time the piece had been met with mixed reception, but this show is said to have been particularly contentious. There was "yells for the music to stop, mixed with applause to hasten the end of the piece... one woman walked down the aisle and repeatedly banged her head on the front of the stage, wailing 'Stop, stop, I confess.'" Such is often the fate of the avant-garde. It's really no secret that Kollaps isn't the kind of album you throw on during polite company or at the work Christmas party. It's unapologetically and unabashedly harsh and abrasive. It's the sonic equivalent of banging rusty pots and pans together while running a jackhammer; sometimes it's literally this. It's crude, and unrefined, and so raw you can still hear the cow mooing. The songs often end abruptly, or have inexplicable long stretches of silence. It's intentionally provocative with titles like 'Schiess Euch Ins Blut' (Shit In Your Blood), which sounds like a man trying to pass a kidney stone at a busy construction site. it's nihilistic and angry and all that true-punk chaotic industrial noise that could really only exist like this in its era, anti-commercial and unconcerned with lofty concepts like 'prestige' or 'vision'. So by all accounts, the album achieves with an impressive clarity exactly what it's set out to do. It's just what it's trying to do is weird and scary and ugly. But it's *this* kind of thing that going through this list is made for. What drives a Steve Reich, or a Milton Babbitt, or a Einstürzende Neubauten to do what they do? Maybe these people are the alchemists of music, drawn to boundary-testing like moths to the flame, doomed to failure and yet persisting in spite of it. Kollaps is a difficult album to capture, because the emotion it evokes in me is primarily just... disgust. This is not a common emotion we look to art to achieve (which is really only happy or sad), and yet it's there. This album gives that feeling you get when looking at something by H.G. Giger or Cruelty Squad: dread and fear. I remember the emotion far more than the sound of any particular song, which is lacking the usual milestones we use to tether ourselves to reality. It recontextualizes itself as it runs, never letting you rest, and it's a dizzying effect. And in doing so, ironically, it leaves a mental impression far deeper than the easy-to-follow pop music that it was surrounded by. I'm really not trying to be a pretentious contrarian here, because I can tell this is the kind of thing that'll turn most people off. I'm not saying it's some misunderstood masterpiece or anything. I enjoy most modern music as much as anybody else. But this thing really grabbed me in a way that disturbed me yet left me with plenty to think about, and I mean that totally sincerely. Perhaps in the end, Kollaps is musical Surströmming. It won't have me banging my head on the stage, or banging my head up and down, but at least it's willing to do things so interesting that I don't really understand them. And that means it's worth chewing on afterwards, which is more than you can say about most radio music.