One of my fav prog-rock albums, because it delivers those epic, complex, long compositions that are super technical and impressive, but it balances them out with moments that are more gentle but very very beautiful. Really like this. Also has this super crazy vibe that makes it sound like it was recorded in 2050 but at the same time like it's coming from some ancient civilisations or some shit

Kinda torn on this one. The highlights (Thinking Bout You, Super Rich Kids, Pyramids, Lost, Pink Matter) are incredible. The rest of the album is super hit or miss. A lot of songs feel kinda underwritten. Some feel like they're going for dreamy but end up being kinda sleepy instead. The interludes are kinds pointless and don't add much to the album unlike on Blonde. The flow of this album is kind of choppy because the great songs are surrounded by songs that are just kind of ok. His writing is really great on Pyramids and Super Rich Kids, but then there are songs like Monks that strike me as a bit awkward. This is a 7/10 album in my book and the highlights are probably enough to warrant this 4 stars, even if this is probably the most negative 4 stars review in history. Some positive notes: Crack Rock is better than I remember initially, the features from Andre 3000 and Earl Sweatshirt are among my fav moments on the album, the production a lot of the time is great and even kind of ahead of the curve.

Has a couple fun songs at the beggining, but ends up being way too long and most songs in the 2nd half are a bit generic. Also not usually a fan of bands adding orchestral elements to their songs to make them sound more epic, and they do that a bit here.

The title track is some white boy reggae rock, not offensively bad but its kinda cringe. The 2nd song is a decent ballad and the 3rd song is a decent rocker. Everything else represents the all the things I hate about 70's rock. Boring

Drags on a bit towards the end when they start doing this cheesy singing and the interludes are pretty pointless, but the singles are iconic and some songs feature some of the craziest hip-hop production ever. Also my song is on here!!!

Cool sounds. Sometimes haunting and creepy, sometimes psychedelic and beautiful. Love the trip hop elements.

Really good album and its really easy to see why. Adele is a very powerful singer, the songs are really memorable and for a mainstream pop album the production is very well done

This album feels like being brought back to medieval times. What id imagine they would listen to in GoT when theyre not busy killing their enemies. Great ballads. Epic guitars, strong vocals, awesome vibe. This is the type of folk I like

Influential and important, but not necessarily good. Starts off solid but its pretty samey and towards the end the performances become less exciting and the vocals rougher. Sorry to all the punkheads who think its the best album ever :((

Shoutout to Pinja's dad for liking this. The covers are great country reinterpretations of classic songs. The other songs are also mostly great. The vocals stand out the most.

The guitar work on this album is infinitely groovy and fun, while also sounding completely unique. Tickles my ADHD brain in all the right ways. My only complaint is that some of the songs drag on a bit.

The same boring dad rock pastiche that Ac/dc did years before this band, so zero profit there. Unlike Ac/dc, The Cult actually has a decent vocalist.

It's a nice listen for sure, but doesn't stick out much in his discography and probably not something I would return to. Usually in jazz I'm looking for something more than just "nice sounding" and this doesn't do that much except for a few songs.

Grandpa vibes but in a good way. Just plain fun.

When I listen to this I feel like the dancing crab on the cover. It just sounds like the sweatiest rave ever that just doesn't stop. Those epic electronic bangers are really my thing. The beats, tempos and grooves are so insane and hypnotic. I wanna go to this guy's concert

I feel like if you asked ChatGPT to give you something that sounds like the 60's, it woukd give you this album. It does a lot of things, but nothing oarticularly well. The performances are just ok, the songs drag on a bit and it's way too long overall

Really lovely country album. You can tell he's a bit younger than on the other album of his we listened to, the vocals are maybe not as awesome but he makes up for it with amazing performances, a lot of country boy swagger and great live instrumentation

This one always felt a bit less special than his other albums, but maybe I just haven't given it a proper chance before. Theres a lot of songs that sounds more lively, more indie rock instrumentation but it actually suits him very well. The calmer, more gentle moments are also really beautiful and touching. Great album.

Out of all the britpop albums I've heard, this one easily packs the most punch. Usually the genre is more about those elegant, theatrical ballads, but this band gives some raw performances with a lot of energy (even a bit metal-esque at parts?). A lot of fun, probably my favorite new discovery from this thing so far. Only thing is that it's a bit frontloaded

Talking Heads are one of the most creative rock bands of all time, but this is only their debut and it feels like their potential isn't fully realized yet. It has their fun and over-the-top

Her vocals really make this album. Very good vibes all around.

Some decent rock eith a classic flair, but not super memorable

Amazingly smooth, groovy and chill. For a 2000s r&b album, the production is super lush and psychedelic and her vocals are really stunning. I also love the flow of this album and how the song transition into each other so perfectly.

This album perfectly captures the sound and attitude of Nirvana as a band, but also is an incredible dive into Kurt Cobain's mental health. The raw, noisy production and screamed choruses capture their punky spirit better than either of their previous albums, which also pairs really well with Kurt's lyrics. From the relationship with his dad on the intro to his relationship issues on Heart-Shaped Box and the feeling of depression on Frances Farmer, the album just paints such a vivid picture which hits even harder in the context of his suicide. The themes of this album are tied up perfectly on the last song of the album, which might be the band's best. In so many ways this is the perfect sendoff album and probably the best "final album" of all time and will always have a special place in my heart.

The beats are vibey and well made, but sometimes a bit too minimal and repetitive. Still, some.made me bop my head. The guy is a bit less interesting on the mic than i remember but not bad either.

Maybe the band's most fun album, because it just sounds like all the members are sitting in the studio, smoking joints, jamming and enjoying themselves. There's great band chemistry amd all the sounds just come together really nicely. Both the slower, bluesier songs and the more lively ones are great. L'america is the only dud, the rest is pretty tight.

This shit's goofy but in a good way. The term "Svengää kuin hirvi" was invented to describe music like this.

Very dreamy, jangly, fun and playful. Like the Smiths but without their boy-ish attitude. More mature in a way, but very good. Towards the end gets a bit samey tho.

Interesting music. Sounds like nothing I have ever heard before. Some sunny vibes from a small village where all the people are meeting and playing their instruments.There is a sense of community and culture in the music. It's cool but not something I would revisit

Cool take on singer-songwritter music. Sounds like something from a spy movie. Great vibes. I like the piano parts especially. Some songs are a bit more forgettable but nothing bad.

The best combination of rock and reggae I've ever heard. Really great bass, guitar and drum playing on the whole album. Got my head bopping a lot. As with almost every Police album the beggining is stronger than the end but it's still great overall.

This is some great pop punk, because it captures the emo spirit of the genre (upbeat sounds, dramatic lyrics) without losing edge. Combines the catchy melodies of pop with rocking production of punk without sounding too clean or stale like a lot of albums in this sound.

Has a really pretty first song that feels like an uplifting dream. The rest of the album kinda feels like they're trying to recreate that but it's not as good. Goddess on a Hiway is a bop tho.

Still can't believe these guys aren't irish. Anyways they have their very distinct sound with the vocalist's kind of intentionally sloppy singing and their combination of soul with rock. The performances are very energetic, the sounds are super lively. I love the jazzy sounds and the songs seem to have positive messages which is also cool. I prefer their next album but this is still great stuff.

Some fun and very funky tunes in the first half. Too bad the 2nd half is mostly some random jamming and rambling without too much direction. Some songs like Free are even a bit bland. Also what's up with the moaning background vocals on Lady Cab Driver?

Kind of all over the place stylistically, but I think it works as an advantage. Starts off super strong, later it gets a bit inconsistent, but still interesting. A lot of cool ideas and sounds is packed into these songs. Even if the performances aren't always amazing or super captivating the songs are mostly enjoyable.

Kind of another one of those albums that starts off with a great song and the rest is kinda inferior. The sounds are nice but it's mostly some sleepy folk rock fusion. I do like Stars All Seem to Weep with its Trip Hop prpduction tho.

So I used to have this as a 10/10 and even tho I don't think so anymore, it's still a wonderful album. Really captures the essence of the band. With the gorgeous, lush arrangements, boyish lead vocals and Morrisey's poetic and dark lyrics this is really THE trademark Smiths album. The intro is one of their most bombastic and even kind of aggressive with that amazing bass and walls of guitars. I Know It's Over is one of their most beautiful ballads while other songs like Cemetery Gates or Bigmouth Strikes Again combine beautiful, summery vibes with deeply ironic lyrics. Again, it's just so representative of their sound. And of course there's 'There is a Light That Never Goes Out', maybe their most iconic song? I love how the song is disguised as a love song, but deep down has a very sad and suicidal double meaning. Would be a perfect closer to the album, but then we have to sit through another song of Morrisey talking about tits. The closer is kind of unnecessary, Vicar in a Tutu is a bit of a weaker song, and the chorus of Frankly Mr Shankly is a bit corny to me, but all the other moments here are either gorgeous, funny, depressing or all 3.

Kinda sounds like something I should dislike because I think a lot of electro-pop from that era has aged really badly but I have to admit that this is well done and just a good time. Uplifting, fun, anthemic, but maybe better in small doses because it does get kinda tiring. The songs are good individually but doesn't work that well as an album.

Kinda weird and spooky but not really enough to be interesting. The performances are okay but lack energy, the screaming is kinda goofy and overall a bit in-one-ear-out-the-other

It has some great parts, especially the guitar solos. They are equally heavy and fun. I would probably enjoy them as an instrumental band. The vocalist isn't bad but kind of generic and doesn't rlly fit this type of music. I would maybe see him on rock opera or something like that.

Somehow better than all their studio albums I've heard. The performances are less boring, the guitar and drum solos are pretty flashy and overall just more energy. Feels less like dad rock and more like youngsters kicking some ass.

One of my fav prog-rock albums, because it delivers those epic, complex, long compositions that are super technical and impressive, but it balances them out with moments that are more gentle but very very beautiful. Really like this. Also has this super crazy vibe that makes it sound like it was recorded in 2050 but at the same time like it's coming from some ancient civilisations or some shit

Some songs are a bit too experimental even for me, so Pinja must hate them. Lol. But behind that weirdness is actually a very talented band. There's great rhythm sections all over this record and the arrangements are actually quite pretty and catchy despite the quirkyness. Also I can't believe this came out in the 60's, very ahead of its time.

The problem with having pretty much 3 of the most iconic songs of the era on your album is that people will automatically compare all the other songs to them. Another problem (well, not sure if it's a problem but whatever) is that you're gonna have people calling the album the greatest album of all time just on the basis of those 3 songs. And of course both happen to this album. It does have one of the best 3 song runs of all time with Thriller-Beat it-Billie Jean, although I doubt that most people who think it is have heard Doin' the Cockroach-Cowboy Dan-Trailer Trash by Modest Mouse. Yeah, the rest of the album isn't really on that level but there is still some amazing songs. Wanna be Startin' Something is an incredible intro with the massive Disco Grooves and awesome synths, P.Y.T is just plain fun and Human Nature is honestly one of his best songs. Gorgeous, smooth, sexy ballad, amazing vocal performance and just stunning production. The other songs I could kinda take or leave. Lady in my Life and Baby be Mine are a little bland, especially the former, and the Girl is Mine is just.... ughh. I hate that song so much, it's all the worst things about 80s music combined. Dated drums? Check. Bland soft rock production? Check. Corny lyrics? Check. Lowkey creepy and kinda sexist? Check. But that's enough complaining, the album is great but everyone calling it the best album ever or something is taking it too far.

The most personal and impactful VU album for me. Their previous 2 get all the praise for the influence amd experimentation but thia one has always hit harder for me. Just beautiful, soul healing music.

Accurate name cos the album makes me go YESSS cos the music is good. Hehe. I like prog rock

Kinda torn on this one. The highlights (Thinking Bout You, Super Rich Kids, Pyramids, Lost, Pink Matter) are incredible. The rest of the album is super hit or miss. A lot of songs feel kinda underwritten. Some feel like they're going for dreamy but end up being kinda sleepy instead. The interludes are kinds pointless and don't add much to the album unlike on Blonde. The flow of this album is kind of choppy because the great songs are surrounded by songs that are just kind of ok. His writing is really great on Pyramids and Super Rich Kids, but then there are songs like Monks that strike me as a bit awkward. This is a 7/10 album in my book and the highlights are probably enough to warrant this 4 stars, even if this is probably the most negative 4 stars review in history. Some positive notes: Crack Rock is better than I remember initially, the features from Andre 3000 and Earl Sweatshirt are among my fav moments on the album, the production a lot of the time is great and even kind of ahead of the curve.

I like U2's post-punk era a lot more. The first 4 songs here are great tho, very nice ballads. After that it kinda dips in quality. The production is not that punchy and the vocals get weaker.

I really wish more of their shit sounded like this production-wise. The guitars are just so lively and full of texture. The album has this a bit noisy, almost shoegaze-y (especially on Colombia) sound to it but it's still super sharp and full of great melodies. The songs are actually mostly quite sad and hedonistic from what I've paid attention. Creates a funny contrast with the life affirming ballads at tge core of these songs. Good stuff, too bad their later shit is either kinda bland or profuced like shit

This is just one of the coolest albums ever honestly. Unlike any other noise rock album, because it's just so fricking groovy. Like how are the rhythms consistently so amazing? Just makes me wanna move my body so much. Even Tunic, which is a heartbreakingly sad song is somehow kinda dance-able. And the guitars on this are just *mwah*. The riffs are so amazingly sinister and are just composed so well with the other elements of the songs, it's pretty incredible. The way the bass and main guitar slowly drift away from each other and eventually explode on the first song is just one of the coolest things ever. And the outro to that song is so ethereal. Tunic is just an emotional powerhouse, crazy intense with completely haunting choruses. The crazy chord progressions and evolving rhythms of Disappearer is just so incredibly fascinating and masterful. The constantly intensifying progression of Mote combined with that noisy, drone-y outro makes it feel like the musical equivalent of going to sleep after a long day of everything pissing you off, and the closing track is probably their most cathartic song in its own weird way. I also love how despite only being from 1990, some songs capture the 90s essence so well - be that Kool Thing, the really funny My Friend Goo which is kind of a silly portrayal of 90s teens or Mary-Christ which is about dating a punker priest. This album is just a masterclass of song structuring and arrangements, backed up by incredible songwriting and just a ton of swagger and cool guy attitude.

Crazy album. The first song is probably the fastest 13 minutes of my life and one of the best prog rock songs ever. Amazing guitar tones all the way through, Gilmour's playing is so locked in for the whole duration of the song and the sax solo at the end is amazing. I love how the whole song, as well as the title track, are just those beautiful meditations dedicated to Syd Barrett. The other songs are maybe not as stunning all the way through as those two, but still contribute beautifully to the grandness of this album. Essential Floyd for sure and really a showing of the band's talent

Horny sex jam, ballads about drugs, warm vocals, funky guitars and great grooves - what else could you want from a soul album?

I could talk about the music, but really the most impressive part about this album is how he managed to roll that massive fat j for the og album cover. But the music is great also. Immaculate vibes and they manage to create this magical, swampy atmosphere for the entire album duration. Stir it up is one of my fav reggae songs.

So ABBA was always more of a singles band than an album band to me, so despite knowing like a million of their songs I never actually listened to an album in full. I kinda assumed it was the Queen case of albums having 1-2 massive hits on them and the rest of the songs kinda just being there to fill the time. But this album is actually quite well rounded and consistent. Firstly tho, why does it start with a song about kissing the teacher? And secondly, why is the song such a banger? The singles are awesome of course and the deeper cuts are also kinda bops. Even the slower ballad My Love, My Life is quite solid. The outro (the title track, dont get fooled by the streaming version having 2 extra songs) has this real sense of being an album closer and is very cool and unusual for the band. Very nice surprise.

This album finds power in simplicity. It's mostly just Norah over some simple, piano-heavy arrangements, but it works very well. The piano playing is so calming and beautiful and she is a very good singer. Kind of reminds me of Adele, but Adele is more of a powerful singer with strong presence whereas Norah is more gentle. I've got to see you Again is giving Amy Winehouse vibes. Painter Song feels like being in a cafe in Paris with some random dude playing jazz on the street. Good vibes. And Shoot the Moon is super underrated and a personal favorite. This is the ultimate comfort album to me.

The album creates an amazing atmosphere only using samples, which is pretty amazing. From the first second it drags you into this world which feels surreal, trippy, hypnotic and fascinating. Every song has an amazing progression to it, which makes it feel like a whole adventure. Stem/Long Stem's drone-y melody and post-apocaliptic vibe make it feel like a song from a spy movie. Building Steam with a Grain of Salt is one of my fav songs here, has an eerie, wintery atmosphere in the first half and then after a short drum solo it tranaitions into this absolutely mesmerizing finish. The drums in general are absolutely insane and hard af on this thing, just so cool. Most of the album is kinda chill, but then Mutual Slump comes at you with those crazy blasting sounds, idk what it even is but sounds hard as hell. Also love how the song has those calmer sections that then build up to chaos again, reminds me of how Modest Mouse structure their songs a lot. And Midnight in a Perfect World is just magical. The rhythm is so addictive and the dreamy guitars and faint vocal samoles make the song feel exactly like its title. I really don't have many complaints about this album, maybe the only one is that I don't have s trong personal conection to some of the songs I didn't mention. This is probably one of the stronger 9/10's for me and who knows, maybe one day it will join the 10 club.

This is their most energetic sound and thats why I like it the most out of their albums. The first 2 songs are just completely nuts. Wild, fast and banging all the way through. Rudie Can't Fail is one of my fav Clash songs because they take a genre I don't usually like that much (Ska Punk) and make it sound so fun. Lost in the Supermarket is so beautiful and dreamy, something I wouldn't usually exlect from them but it works. And the Guns of Brixton is such a classic. Duch an interesting and odd rhythm, super creative, and it's one of their most dense songs lyrically. I always thought the 2nd half of the album was a bit weaker than the first, but honestly it's still pretty good. The wealest song is actually probably Jimmy Jazz from the 2st half. Not bad but just kinda not my tempo. Great album, don't really see it as one of the best punk albums of all time tho

Wasn't expecting to see this album here but I'm very happy it made it. It covers so many different sounds and styles: soul, r&b, pop, rap, jazz, rock, all while maintaining this cohesively futuristic sound. Every song has a strong message and purpose and contributes to the album somehow. The production is very vibrant and the songs are very catchy, and the way they transition into each other so well is super cool and creative. I love Cold War because I'm a sucker for some drum and bass in the production. Dance or Die features her rapping and she's somehow better at it than half of the rappers. The progression of Faster is just so good and Tightrope sounds like one of those super eccentric Outkast songs in the best way possible. Then there is 2 random psych rock songs, kinda random but it works. And there is a duet with the of Montreal guy! The last part of the album is super all over the place but mostly good still. Really fascinating album and one that I can see myself coming back to for sure.

The first song feels like some sort of meditation, very slow and repetitive. The vibe is cool but not super memorable. The next one is going for more dramatic but the instrumentation isn't strong enough to back it up. Hanging out and Hung up On the Line was a highlight for me as it has one of the better performances, and the riff on Safesurfer reminds me of a Smashing Pumpkins song which is pretty cool. Soldier Blue also had some interesting soundscapes on it. Overall the sounds are quite good but they're not really combined into great songs. The choruses are quite weak and don't really pop, the songs try to build up to something but the buildups usually aren't very rewarding and the use of repetition usually makes the songs drag on instead of achieving something interesting. I wouldn't call this album boring or bad but rather quite frustrating because it could have been a lot better.

There She Goes is the obvious standout. I also liked Timeless Melody a lot. Great guitar and very organic sound. The album sounds very british. The vibes are pretty good but I can't say it's super memorable. The random folk song in the middle doesn't fit the vibe tho. And Failure kinda sounds like a car commercial song. Otherwise not much wowed me about it but it's alright.

Pretty unique production for a country album, especially on songs like Close Behind. Starts off pretty stardard but then it dives into Trip Hop, blues and also latin music? Very unique and they do it all with such finesse. Black Heart sounds like Portishead (one of my fav bands) doing an alt-country song and its cool af. I was intrigued all the way through.

Always thought the title is kinda goofy. Nilsson Schmilsson sounds like a nickname someone gave to him in primary school. The album itself is interesting. Opens up with 2 straightforward but good songs, then Early in the Morning hits and it's kind of a headscratcher. The Moonbeam Song has pretty vocal harmonies but not super interesting sound overall. Down is kinda proto-Billy Joel, at least some of his more lively stuff. Without you is a great ballad, has some of that Beatles grandiosity to it that I really like. But why did he think that putting Coconut right after it would be a good idea? Not only does it not much the vibe at all because it's goofy as fuck but also he does this really annoying accent on it. The final moments are solid but a bit inconsistent. I quite like the album but not enough to give it 4 stars.

This album is just a very human expression of love in all forms. Falling in love, being in love, breakup. Happy love, sad love. Everything. I can't really imagine anyone disliking it either. The performances are amazing, she's a really strong vocalist and has a great ability to convey all those emotions into the music.

Damn, this guy is good at playing his instruments. Very good. After over an hour I still didn't get enough.

I always found The White Stripes a bit overrated and while I wasn't expecting this album to change that I also wasn't expecting to dislike it as much. This albun seems to have 3 moods: going for a clean and melodic rock sound that reads kind of like tv commercial music (Blue Orchid), going for a different, bit experimental sound and failing miserably (The Nurse, Little Ghost, As Ugly As I Seem) or trying to recreate their typical sound but not doing it super effectively (The Denial Twist). While I'm not super crazy about some of their previous stuff, I have to admit that it does have some power to it, some purpose and Jack White's guitar playing was very solid. I can't say any of those things about this album. It's just very gutless, bland and boring, with some moments coming accross as kind of obnoxious.

So this album is half groove metal half nu metal. I never cared for groove metal much and the majority of nu metal I've enjoyed is from bands that I don't rlly consider nu metal anyway (Deftones, SOAD, early LP) so my expectations were quite low. At least I wasn't disappointed? It's not very good but not the worst thing ever. Some riffs go kinda hard even if they are a bit corny and not my thing at times. The vocals are mostly not that good but at least the guy is not rapping. The distortion towards the end of Breed Apart is quite cool, the riff of Attitude is quite powerful. There is individual good parts of the songs, but really the best thing I can say about it is that I could name around 20 bands that could do it way worse. Which is not much of a compliment either.

I really like this album. It's fantastic. That being said, I don't really see why some people would prefer it over in Utero. It's a more commercial, less raw sound for them, and when they do try a rawer sound it's not really as perfected as on their next album. It also seems like they maybe didn't have as much artistic freedom with this one in terms of conveying the message they wanted to mostly. Except on Polly. That song is amazing, but also kind of out of place on this album. Legit one of the most scary, sad, creepy songs ever if you dive into the lyrics. Still, this album is packed with bangers - especially the first 5 songs. You have one of the biggest rock anthems ever to kick it off, then a super iconic banger with In Bloom with maybe one of the most iconic guitar solos ever. Come As You Are has one of the best vocal performances, so much pure passion dripping from it. I love Breed because it really plays into their punk background very well and Lithium is my favorite song lyrically, filled with auto-irony but combined with a depressive undertone. Especially the contrast between the dark verses and the continuous Yeah!s of the chorus are super interesting. When you start your album with such a bang it's bound to be kinda frontloaded and that is the case for sure, even if I do like the second half. The chorus of Drain You is so epic and uplifting and every punk song should have as much purpose as Territorial Pissing. I love the drums on Stay Away even if I don't think the song is super essential to the album and I feel kinda similarly about Lounge Act. Great songs but not super standout in the grander scheme of this album. And Something In The Way is very underrated, I never cared for the whispery vocals and the mmmmmmmm humming chorus. Amazing album but very frontloaded and lyrically a bit weaker than In Utero

I'm not the biggest fan of the band but this album is quite fun in it's quirky, weird way. Old school blues rock vibes meet playful, funny, unique vocal deliveries. Mostly solid throughout but Zig Zag Wanderer and Abba Zaba were the standouts for me

Super enjoyable and easy to get into, like the quality of these songs is quite undeniable. Peter Gabriel's vocals are super powerful, he really makes you feel every words he's saying. It's the sort of music that just takes you on a journey to its own world. Sledgehammer is so cool, sounds so massive and funky, the grooves are crazy and has an amazing triumphant energy to it. Contrarily, Don't Give Up is beautifully gentle and minimal, but doesn't need much except for the strong vocals and atmosphere. The bass outro is really cool too. I love the kinda mysterious vibes of Mercy Street and the instrumentation is so lush and serene. Big time is so funky, just made me wanna damce even tho I was dead from hiking while listening. We Do What We're Told is a decent closer but not super exciting. Really like this album, it's a great expression of romance and romantic struggles and is a great contributions to one of the most consistent discographies I've heard.

Solid little album from Curtis. The production is woozy and psychedelic, but the vocal performances feel a bit... shy? It's solid and smooth, but what keeps me from loving it is that I know he can do much better.

Pretty solid listen, but not super consistent. Some of the sonic textures are really cool, particularly on Goin' Back and Natural Harmony. I like the folkier moments more than the country-esque ones. In general, most of it feels very 60s, for better or for worse, as some songs sound a bit dated. The closing track is interesting and quite forward thinking but not really good. Overall it's a pretty good album but not something I see myself returning to.

All this album did was remind me why I'm kind of picky about this type of music. I'm not really feeling the vocalist, but that's not my only problem. The music feels too stereotypical. Same guitar riffs I've heard before that kinda blend in together tied together with the HEEEEY OHOOOooo ass choruses. The music just comes off as a bit corny to me. They're trying to be edgy, but it's kind of a dull edge. I didn't hate any of it but wasn't very invested in it either, and a few decent to good songs don't change that.

Solid hard hitting punk. The tempos are super fast and the drumming is aggressive. However, the performances are not as tight as on their other EPs and the longer songs don't really highlight their strengths, but rather a lack of diversity

I was quite impressed by the production on some of these songs, then I look at the credits and see DJ Premier. Very unexpected but that explains it. Back in the Day has a great beat with some cool scratches, Ain't no Other Man is quite experimental for 2000s r&b. I like the mysterious vibes and thick bassline on F.U.S.S., and Slow Down Baby was also a banger. Still Dirrty is maybe the most Pharell-sounding beat that wasn't produced by Pharell. Just has that trademark 2000s club banger sound with the bouncy drums, and the trumpet sample is very cool. Thank You is good but a bit unnecesserily long. I was afraid that the album would get boring but she actually switches it up for the 2nd half and does a more soul sound with some jazzy arrangements. It's alright but I can't say it grabs me too much. Candyman seems a little corny to me. I Got Trouble has some weirdly muffled vocals that sound kind of bad, weird switchup because on the rest of the album they're super clear and powerful, especially on Hurt which follows it. It's a good album but a few tracks could have been cut to make something great.

This is straight up the craziest r&b/soul album I have ever heard. It has those super raw grooves that are very dancable but somehow also very entrancing and hypnotizing. It's like this dude is trying to lure me into some weird cult. Somehow manages to maintain this weird tribal atmosphere for the whole duration of the album. The first few tracks set up this trippy psychedelic atmosphere that feels just insane. The production is raw as fuck, feels like I'm listening to a noise rock album at times, but deconstructed to the minimum. Danse Fambeaux feels like being at a cult meeting and slowly getting intoxicated into its weird shit. Croker Courtboullion makes me feel like I'm haunted, incredibly fascinating and dense atmosphere that this song evokes. Amd the closer is so majestic and creative, the instrumentation is so organic and unique, so many weird instruments coming together so perfectly, it's quite impressive. This album is crazy, especially for 1968. Raw, noisy, addictive and very beautiful. I love his voice, it has this rough around the edges feel that compliments the music incredibly. This is just pure vibes, but very very cryptic vibes. I listened to this 3 times in a row last night and it was quite the experience.

I like this album even if I have to admit that the people claiming that it's one of the best things ever are overrating it. The best thing about it is the production. Very layered with some truly beautiful progression, and also very unique for its times. Wouldn't It Be Nice is amazing of course, timeless song. I'm Waiting for the Day is a personal favorite of mine, the arrangements are just so undeniably stunning. Many songs have those incredible psychedelic textures that are very ahead of its time. My main problem is that it's a bit inconsistent, with some songs just feeling kinda average to me. I'm talking about songs like You Still Believe in Me or Don't Talk, which kind of pale in comparison to the way more interesting songs around them. I don't think that all of the instrumental songs are necessary either, even if I do appreciate them.

Legendary and iconic. The atmosphere this album creates is so undeniable from the first seconds. Makes you feel like you're in an abandoned house in the middle of the winter during the night with snow blasting on the outside. It's dripping with sadness, depression and isolation. The first song is just so iconic and amazing. Amazing bass, the guitars just sound so good and the performance is fire as fuck. The 2nd song has amazing gothic rock influences but delivered with the heaviness of like an early Black Sabbath song. The vocals sound so tortured and give the song so much power. She's Lost Control and Shadowplay are also big highlights, as they do an amazing job of conveying these somber, dark emotions to the listener. I really like the closer too. Peak tension building. My problem with this album is that some songs are kinda there to just fill the atmosphere. They work for that but aren't that strong as standalone songs. Still, the highlights are incredibly strong and the album is very very good.

The folk tunes are maybe not super unique for that period of time but they're done very well and with great passion, so I can overlook that. Thirteen is an all timer. I do really like the more lively and powerful songs, like Feel or When My Baby's Beside Me. They have stronger melodies and more interesting chord progressions. There is some misses but the album is pretty good overall.

THE Bob Dylan album. He really mastered the art of storytelling on this album. It's his most personal, dealing with mostly Love and Loss of his wife. On songs like If You See Her Say Hello he captures this sentiment in such a touching way where it's really easy to feel his words. I also like how the writing is easy enough to understand but still full of methaphors and beautiful lyrics. Shelter From the Storm is such a cute song, can't help but love it. Another interesting sentiment is the passing of time, which is expressed very well on Tangled Up in Blue, the trademark song from this album. I believe this is his best album and will probably just keep getting better with more listens.

I'm glad there's albums like this one on the list, it's cool that music from different cultures is getting some representation. It sounds quite cool, I like that laid back, chill guitar tones and mellowed out rhythms. Gomni sounds like a perfect weed song and the standout to me. Super entrancing. Soukora was another standout, just very feel good vibes coming from it. After that the album gets a bit weaker, the melodies get kind of repetitive, the e-guitar parts fell a bit lazy. There's no bad songs and the vibes are good all the way through but not that much stands out except for a few songs. Glad I listened to it tho.

Better than I remember. A bunch of fun songs with pretty strong melodies and production that screams 60s. Some songs even surprised me with their heaviness considering this dropped in '65. The title track is great and The Kids Are Alright is also a banger. It's got its problems tho, a few songs seem a bit corny and feel like bad covers of early Beatles, especially La-La-Lies and Please Please Please. Some of the vocals are also a bit grating at parts. Not a bad listen tho.

This album is mad. Apparently the band only has a drummer and a bassist, it's crazy that they manage to make so much noise with so little instruments. It's so wild, noisy and technical, with bass riffs (is that even a thing?) flying in all directions. A lot of chaos, but it's controlled chaos and sounds pretty incredible.

This is not the best Stevie album, but his discography is so lacked with classic that it doesn't mean much. The first song is just such an amazing love song, so warm and sincere. A bit on the poppier side compared to the rest of the album but that doesn't mean it's not amazing. The 2nd song is much funkier by comparison, with a unique groove and a very animated vocal performance. You and I is very smooth but probably the least exciting song here. Tuesday Heartbreak is another lovely song, dripping with passion and emotion. The big hit Superstition is obviously amazing and absolutely impossible to dislike. Stellar chord progression, absolutely amazing instrumentation full of life and personality and such a catchy chorus. So good. Big Brother, Blame It On The Sun and Lookin For Another Pure Love are solid songs but don't bring much to the album imo. However, I do really like the strong progression and vocal performance of the closer. This is a really essential Stevie Wonder album and conttributes to his amazing early-to-mid 70s 5 album run greatly.

SZA displays a great level of vulnerability and conceptuality on this album, and even if I don't personally relate to her lyrics, it's hard to deny their quality. The album follows an interesting narrative. At the start, SZA portrays herself as very introspective and aware of her insecurities. It starts off with a very raw and emotional ballad, where she showcases a deep level of vulnerability, recognizing wrong decisions from her dating life but still being stuck in this loop of repeating them. The quite minimal arrangements and strong vocal lines add sheer emotional power to the song and it's difficult not to feel her words. A great deal of the first half of the album deals in the topics of infidelity and toxic relationships, recognizing that she is just a side girl for the guy she's writing about. Eventually, SZA comes to a realization that that's not what she wants, which is a sign of self-reflection and emotional maturity that I really admire. On Love Galore, the 2nd song on the album, SZA reflects over some of the shit relationships from the past and how despite the toxicity you can still end up gravitating towards the other person. However, I think she does it in a pretty badass way. The song has an interesting psychedelic twist to the production and Travis actually matches the vibe very well. Doves in the Wind is really amazing too. It's a very sensual and sexy song with some woozy textures and some cool hip hop insipred drums. Lyrically it focuses on how there is more to love than just sex, but again, she does it in a pretty witty way. Kendrick also lays a very focused verse with some very strong sung bars. I like it as it's not a style he does too often. The themes of insecurity and questioning your self worth come back on Drew Barrymore, despite of the cozy and warm vibe of the song. It's got an absolutely stellar melody and chorus that almost distract from the raw emotional vulnerability, especially in the 2nd verse. Prom is another touching moment where she talks about maturing and self-development, mainly being scared of not growing as fast as her guy. The song is wrapped in this very summery sound with some gorgeous strings and a slight disco twist. The Weekend has one of the juiciest beats with this super thick bassline that I really like, and is yet another moment of realization that she's being played. She describes herself as the 'weekend girl', with the other girl being on the main plan. Go Gina and Garden contribute more to the themes of insecurity and unsatisfaction of the first half of the album, but I do think both could have used stronger hooks and melodies. I do really like how the bass on Garden is a bit more agressive tho. Following that is the song Broken Clocks, which is my favorite here and serves as the centerpiece of the album. Firstly, it works as a reflection of time passing and how it can be easy to get worked into the chaos of life, with everything moving super fast. The song emphasizes how it's good to take life day by day and try to make small improvements every day, which is a healthy perspective that I really like and relate to. She also uses this song to reflect on the balance between ger work life and love life, ultimately recognizing that the flings she described before were not worth the hussle. Admittedly, I do think the album gets a little weaker afterwards, with a song like Anything being bold and interesting but not executed as well as it could have. The Wavy interlude could have been a full song, as it has some great sounds, but I also think it could have been just SZA on it. What I do like is the reflective nature of some of those songs. On Normal Girl she realizes that instead of worthless hookups she would like an actual healthy relationship, which makes it a pretty wholesome moment. The album does a full circle moment with the final song - 20 Something, which much like the first one is a raw, acoustic ballad, but this time touching very different themes. She recognizes that her life is unorganized and imperfect, but ultimately isn't that what you're 20s are for? In the end, she recognizes that it's ok this way. It's a truly great closer to a truly great album that has a lot to give, both sonically and lyrically, as I think her approach to r&b is pretty fresh. It's an album I really enjoyed diving into, as indicated by the length of the review.

The album kinda has 2 sides. One of them is 70s and 80s glam rock revival but done with a modern twist, and that part is pretty fun, with strong melodies, quirky vocal and an effective mix of the old and the new. The disco/dance revival from the other half I could kind of take or leave, I don't think they do that style as much justice and it just sounds kinda tiresome. My thoughts were mostly positive, but I'm still a bit torn overall. Small + to the rating for the song Tits on the Radio, which reminds me of Of Montreal with it's massive grooves, colorful production and creative vocal delivery. So this rating can be treated as 3+.

This used to be one of my fav jazz albums at one point and I still think it's brilliant. The first song starts off with this super deep and memorable groove, with a lot of instrumental progressions around it. Eventually it breaks down into this piano driven section which is very funky and dancable. Watermelon Man offers more cool rhythms and sweet guitar leads, while Sly has one of the coolest progressions I've heard in jazz, starts off with a pretty slow and chill melody and the way the way the playing intensifies is just so fascinating. The last song has some ambient textures applied to jazz, it sounds quite unique but isn't as memorable as the other 3. Still, I think this is the best Herbie Hancock record while also being his most accessible and just fun to play.

I can only imagine the amounts of drugs consumed while recording this. There seems to be a concept here: with each song the album sounds more and more drugged out. Kicks off with a pretty tight psych rock tune and pretty much ends with some random spaced out jamming. There is some interesting and hypnotic sounds all over this, but also a lot of elements that kinda bothered me, like how loud all the organs sound or how some parts are kinda off-key.

I like the first song. Everything else was passable, but very unmemorable. I've heard it all done better before, all this did was recreate a 60s country pastiche. This album didn't have much to offer, so consequently I don't have much constructive criticism.

My favorite Bruce Springsteen album. I prefer this acoustic, country-inspired sound over some of the more triumphant and anthemic albums in his discography like Born to Run (god forbid an artist is happy!), as I feel like maybe they haven't aged that well. I've never been to Nebraska, but this album creates such a vibe and paints such an imagery, it feels like driving through the state and looking at the window of your car when it's raining outside. Doesn't make me wanna visit it tho. The acoustic guitars have a very nocturnal and kind of lo-fi vibe, which gives the album a cold, autumny feel that is also quite unique. I love how genuine the songs feel, Bruce's vocals are pretty muffled, but sentimental, full of melancholy. Also weirdly comforting in a way. And musically, the arrangements are quite minimal, but they do just enough to contribute to this overbearing atmosphere. Also, being unemployed, some of these songs hit hard. If there's one thing I could do without it's the harmonicas, but they don't appear on every song and aren't the main element anyways.

Most artists have that one album that I think is kind of overrated, and for The Smiths it's this one. Not saying it's particularly bad, but very uneven. It's also a bit confusing to me that some of the more acclaimed songs (This Joke Isn't Funny Anymore, Well I Wonder) don't really do much to me, while songs like I Want The One I Can't Have or Nowhere Fast that are a bit underrated strike me as much punchier and catchier. The melodies on this album feel a bit underwhelming and underdevelopped in general, they are much better on their other albums. That also makes songs like the title track drag on heavily. Rusholme Ruffians also has a bit of a country twang which doesn't come off as that good. The album has some amazing highlights too, the opener is stellar and Barbarianism Begins At Home is one of my fav Smiths songs and one of the best basslines ever. Also love the theme of how the education system oppresses young people. It's certainly way better than the title track which kinda reads like a twitter rant on vegetarianism. Every band has got to have a weakest album, and for me with The Smiths it's this one. However, for a weakest album it's still not too bad.

It's hard to say why this album resonates with me so much. It's very minimal, with every song (except for the piano part on the first one) consisting of just Nick Drake's unique voice and his acoustic guitar, however it is the definition of doing a lot with a little. The songs don't really have much structure either, most don't even have choruses, just a bunch of verses with the occasional instrumental interludes. So what is it that makes this album not only great, but one of my favorites of all time? Well it's a few things really. Nick's guitar playing is really fascinating throughout this entire album and also so easy to get lost in. He creates these organic, warm guitar tones that just sound so goddamn good and so rich despite their simplicity. Together with his soothing voice that feels very comforting it creates this perfect harmony and just makes me feel things. The album creates kind of a full circle moment with the first titular track feeling like watching the sun rise on a breezy fall morning, while the closer's gentle guitar lead that eventually fizzles out creates this vibe of witnessing the sunset after a long day. The lyrics also enhance this, describing how the night dawns and using this metaphor of night and day as life and death to express the sentiment of benefiting from everyday and focusing on the time we have left. It's a beautiful thought to leave the album on, and brings me to another amazing aspect of the album - the lyricism. I love that it's very poetic, pretty and filled with meaning, while still being quite simple to understand. His rich, mostly nature-based comparisons and metaphors combined with the organic production give you this feeling of laying in the middle of a forest and feeling connected to the nature. Place to Be is a simple song, yet still a beautiful reflection on growth. Which Will comes off as deeply dark and philosophical in a way which is touching and emotionally compelling. Things Behind the Sun is my favorite song here, partly because of the dark, mysterious vibes and amazing chord progression around the chorus, partly because of the genius lyrics. The whole song essentially feels like a conversation with himself, an inner monologue, debating fame, pressure and depression in such a beautiful way. Despite being very simple, this is truly one of the most beautiful and unique folk albums I've ever heard, and the context around it adds a whole new meaning and perspective to it.

Too drugged out and mellowed out. There is some good moments, like the heavier Come Together or the mind bending textures on I Think I'm In Love, but for the most part this is kind of a snoozer. No amount of reverb or druggy atmosphere can save these songs from feeling hollow.

This album is the definition of boomer rock. Guess I was born in the wrong generation to enjoy it? I didn't care much for the squeaky riffs and kinda weak bass, some of the vocals are a bit grating too. Like, if you're making blues rock and your bass isn't bassing you know you've failed. La Grange is a bop tho.

Hypnotic beats, mind bending textures and crazy rhythms. I was listening to it on the way home a bit drunk and high and it made me feel like I was in an action movie.

Some good early post-punk. Very raw, great and simple but effective production and the vocalist's half singing half talking approach is quite unique. Some more energy could really elevate this, because it's consistently good but rarely amazing. Still, I enjoyed it all the way through.

One of the rare super classic rap albums that I think is kinda overrated. The first half is pretty strong with a lot of bangers: Fuck With Dre Day, Let Me Ride, Nothing But a G Thang. Unfortunately some of it sounds kinda dated and hasn't aged the best. Only about half of it bangs, in tye 2nd half you've got those dated synthesizers and kinda weaker basslines. Another problem is the rappers, they're really not that good, in fact kinda generic. Snoop Dogg is good on this, but the rest I really don't care for that much and they get old pretty fast. This album has an interesting spot in history but it's pretty inconsistent.

One of the definitive synthpop albums. It's great how they combine those monumental, anthemic sounds with a strong message. I love the many layers of instrumentation coming together into this mechanical and super dense sound on Shout. It's a protest song and it definitely feels like one, has a real sense of urgency to it. The Working Hour has this insane post-apocalyptic vibe to it and a great ending, and I'm convinced EWTRTW is physically impossible to dislike. I love the industrial touches on Mothers Talk too. I Believe is a nice sounding song but doesn't really measure up to the highlights here. The ending is quite strong too, but Head Over Heels is the clear standout. 80s essential, so many bangers here.

This album holds a fascinating position in the hip hop history. The juxtaposition of gangsta rap aesthetic and a subject matter mostly revolving around partying creates this weird combination, like if the album is not really sure what it wants to be. It's constantly stuck between its basic bragging, club friendly beats and mixed attempts at trying to convey a greater message. A few really timeless songs at the beggining don't really change the fact that this album is a mixed bag at best. It's a shame, such a cool name deserved better music.

This is essential Smiths. Fuck everyone who thinks this is their worst. Y'all just don't get it. This is probably their most depressing album, but with that little twist of dark humor to remind you you're listening to The Smiths. And the songs themselves are great too. A Rush and a Push is one of their most unique, I don't know if there is even any guitar on it but it atill manages to be one of their best songs. I Started Something I Couldn't Finish has one of the best choruses from any Smiths songs. Stop Me has such a gorgeous guitar part, I really love it. The album is maybe a bit toned down, not as punchy as some of their other albums, but that doesn't stop it from being one of their best.

It's a Springsteen album, so the songwriting and lyricism are strong. It's a shame that most of these songs are wrapped in a layer of some pretty shitty 80s production. I don't care much for the washed out synths and super loud snare on the title track, and the vocals on it are quite rough too. It's a very overrated song to me. Darlington Country has some pretty tacky country-esque sounds and an annoying chorus I don't like too much either. I feel kind of similarly about Working on the Highway and I'm Going Down. There's a few more songs where the drums sound kinda bad and the guitars a bit artifficial. The album is not totally bad tho. Downbound Train is kind of an underrated song, the production feels more organic which I like a lot. I'm on Fire is also more stripped back, not the most unique song but still quite good. Dancing in the Dark is super popular but actually deserves its hype, such a good song. I feel like this albun would work well in an acoustic setting seeing how much I like Nebraska, or maybe seeing some of these songs live. As is, the potential feels kinda wasted.

Misleading title, I wasn't grooving much to it. Most songs are kinda sleepy and the psychedelic sounds are quite bad. Kinda like The Monkees but even less interesting.

One of the very first hip hop albums! Its importance and influence is huge, but it's far from perfect. The massive standout is The Message, maybe the first political hip hop song with a super iconic and funky beat. The first 2 songs are quite good too. I like the groove of She's Fresh and It's Nasty is a bit primitive, but still a fun rap song. Now since it was 1982 they couldn't just make a full album of rap songs, they had to put some bullshit poppy smooth soul songs (Dreamin, You Are) which kinda suck. The other 2 songs are fine but sound a bit basic and haven't withstood the test of time. It's a fun and interesting listen, but not consistent at all. I'm leaving 3 stars for the cultural impact

Kinda average blues rock. I wish I had more to say about it, but not much about it grabbed my attention. The sound is a bit dated, the guitar work could have been way more interesting and the songs just don't pack much interesting writing or anything. There's a couple interesting moments but most of it is in one ear out the other. What'd I Say was building up to be a good song but then it has this terrible drum solo in the middle that ruins its momentum. I liked Hideaway and Steppin Out because they offer some quite passionate performances, but that's about it. Maybe I could even find more arguments to defend it, but Clapton is also a racist douchebag so I don't really feel like doing it.

Neil Young is really the king of his folk-rock-country sound. I really like it because it's simple and straightforward but also just plain sounds good. Awesome guitar passages, great songwriting, wonderful singing. It's very consistent and impressive without falling to the generic territory. One of my favs from Neil Young