I enjoyed this one. Adele has super strong vocals that carry any tracks with weaker production, but most everything hits on this LP anyways. "Send My Love" is my favorite of tbe singles from this album, it has a more upbeat, poppy sound that contrasts with Adele's spiteful lyrics, the most spiteful she'll get on this album. My favorite track by far is "Love In The Dark", it really feels like it gets across the albums themes of lost love, nostalgia, and the past with some beautiful orchestral backing. My only criticisms are that the choruses can be a little repetitive at times, not helped by the length of alot of these tracks, and that most of my least favorite tracks are concentrated in the middle, leading to somewhat poor pacing. Overall, feels like listening to a sad ghost recount their life story to you.

I'd only ever heard "Personal Jesus" from Depeche Mode before, so the radically different stylings on the rest of this album were suprising. I nontheless enjoyed most of it, especially the latter half. The combination of gothic orchestrals with grimy, synthy beats was a fun contrast, and it needed to be in order to make up for the lackluster lyrics and theming on the rest of the project. Overall a fun listen, even if it doesn't sound like it's trying too much new.

This was an interesting listen. I'd never really delved much into Queen's pre-popstar era, so the heaviness and themes on this one came as something of a surprise. That being said, I didn't really the enjoy the "a-side" of this album, as it were. The tracks on the first half here feel as if they aren't doing anything special or new; they feel forgettable; and that is one thing a Queen song should never be. The album picks up significantly once it gets to "Ogre Battle", which is probably my favorite track on here. The tracks get much more complex and multi-layered, with "March of the Black Queen" also being a favorite. The aesthetics on this album are fun as well, with the black-and-white theme being well established and providing a strong throughline.

This one was ok. I'd heard rave reviews about Nilsson's work, but upon actually listening to this one, I was only really impressed by a few songs. The good songs on here are really good, but the bad ones blow (looking at you, "Coconut"). My favorite by far, and the standout for me on this album, was "Jump Into The Fire". The songwriting, instrumentation, and structure on this one all combine to create one of my favorite songs I've listened to in a while. The break after the initial portion of the song is done that leads into the drum and bass section is electrifying and serves to bolster this album all on it's own (fuck the coconut song)

I come into this album with a disadvantage, as I do not speak the languages being sung on this album. Despite this, this was a heavenly listen. I was already a fan of bossa nova/brazilian jazz, and this my probably my new favorite album out of that genre. The instrumentation is sublime, and the vocals, while incomprehensible to me, are still heavenly and complement the stylings of the rest of the album.

I don't think I clicked with this one as much. While the songwriting and instrumentals are fine throughout, nothing on here really wowed me outside of "Powderfinger". I'll at least give the album that it gets much better when it gets more electric on the b-side, but other than that, this one didn't land.

Extremely smooth, extremely funky. A great neo-soul record that I would point to as the exemplar of the genre. "Ascension" fucks.

While not being as strong as Hendrix and the Experience's other studio albums, this one still stands strong with powerful instrumentals, well done and thoughtful lyrics, and production that feels revolutionary even sixty years after the albums original release. An easy 4/5, only held back from a perfect score owing to the band's other works surpassing it.

Too long, not good. Pushes past the melancholy charm of Wilco straight into being annoying. Not a fan of this one.

I got this one shockingly soon after Getz/Gilberto, so my opinion of it is somewhat colores by that. Many aspects of that album remain true for this one, with the exception of Tanto Tempo's more modern production and the absence of Stan Getz's wonderful saxophone. Still a solid collection of songs that I still am unsure of the lyrics to.

Pretty good little collection of retro throwbacks that combine together suprisingly well, with a decent coat of spooky-themed paint over it. "Havana Gang Brawl" slaps.

An album that feels like it was comprised of songs that'd been rattling around in someones head for years. The subject matter on the album feels pretty diverse (not always to the album's benefit) but the main saving grace on this album is the instrumentals. The bass playing is consistently great on here, and with fun suprises like the xylophone on "Gone Daddy Gone", the album remains sonically interesting throughout. "Blister In The Sun" is the best song on the album.

One of my favorite albums ever. No skips on this one, with a great collection of art pop/pop punk jams featuring great instrumentation and amazing vocals. Easy 5/5

This album is a complete fucking mess. You can hear the fracturing of the band on this album; it feels more like a greatest hits compilation than a cohesive project. While there are still a decent number of great tracks, they are outweighed by ill-conceived, half-assed songs. But like, it's still the Beatles

I would have loved to really enjoy this one, but I couldn't get into it. Despite the upbeat synth-pop tunes, a lot of the other creative decisions on here are baffling and just flat out annoying. When it all comes together-as it does on "Genius of Love", one of the most earwormy tunes ever concieved-it really works, but overall this one is missing some of the cohesion I know these musicians can bring to the table.

Ultra funky jazz fusion album. Each track feels like a complete exploration of all the ideas presented on it with the exception of "Watermelon Man", which wasn't made for this album. "Chameleon" is the standout for me here, that bassline is addicting and persists throughout all 15 minutes of the track.