This is the first time I'm getting an album I'm fully familiar with and have listened to plenty of times. It's crazy that it took the 4th album by the White Stripes to make it big but it does make sense. Seven Nation Army has stamped itself in the zeitgeist for eternity. It's been a radio staple for over 20 years and the pseudo-bass riff has even birthed its own chant for sporting events. But the whole of the album is all aspects of Jack and Meg. You'll fin frantic noise rock, bluesy ballads, and old country all through the album. "I Want To Be The Boy To Warm Your Heart" is a prototype to the sound prominently heard in their following album, Get Behind Me Satan. One of the best traits of the White Stripes is that a song never over stays their welcome. They are willing to let a song end under 2 minutes which is rare. They said what they said and did it succinctly. On the other end, you'll get a 7 minute barn burner in Ball and a Biscuit. It's that versatile talent of the duo. There's a beautiful dance between the two where drums and guitar shine individually and tango together beautifully. I would list any of their albums as an album you should listen to before you die, but it's undeniable that this belongs in every list.

I don't speak a lick of Portuguese. I didn't understand a single lyric. I don't know any of the themes touched on in these songs. And yet, this album fucking rocks. Music truly is a universal language. Every song is overflowing with contagious joy. The only suitable response is to just dance, baby. Also, I love that monkey howling sound that's common in Samba/bossa nova music but always thought it came from an oboe or some other woodwind. Ends up it comes from a drum called the cuica. The more you know.

"Don't You Want Me" has been a radio staple my entire life. Not a song I gravitated towards until I heard a cover I believe was used for "Secret Life Of Walter Mitty" which gave me a different perspective of it. I can appreciate this album for it's impact on and establishment of synth new wave music. Some of the synth and monotone singing does get a little grating. That might just be the environment I was in. Working at my desk is probably not an idea location for listening to this album. I could picture putting this album on during a late night drive or at a party when the vibes are mellow but fun. Some songs really reminded me of LCD Soundsystem, especially Do Or Die. Makes me wonder if they've ever mentioned being influenced by The Human League. This album wasn't totally my taste but it does make me want to listen to more of the band and see how their sound evolved. I see that they also made "(Keep Feeling) Fascination" which is a song I really enjoy. Also a great gateway to getting me to listen to more funky new wave music which I would enjoy.

So it ends up I was a lot more familiar with Peter Gabriel than I thought. A lot of songs on this album that I was already fond of. I really enjoyed getting his music in the full context of a curated album. I love an album that starts with a bang and Red Rain is a fucking great opening song. Has me ready for the rest of the album. Then leading into Sledgehammer is a great 1-2 punch. Ending an album is equally as important and In Your Eyes is a fantastic closer. One thing notable to me was the emphasis on the percussion throughout the album. The drums give the melodic passionate songs their power and the upbeat songs their energy. I'm not usually one to take notice on intentional instrumentation but this was pleasantly obvious during my listen.

This is the first time I'm getting an album I'm fully familiar with and have listened to plenty of times. It's crazy that it took the 4th album by the White Stripes to make it big but it does make sense. Seven Nation Army has stamped itself in the zeitgeist for eternity. It's been a radio staple for over 20 years and the pseudo-bass riff has even birthed its own chant for sporting events. But the whole of the album is all aspects of Jack and Meg. You'll fin frantic noise rock, bluesy ballads, and old country all through the album. "I Want To Be The Boy To Warm Your Heart" is a prototype to the sound prominently heard in their following album, Get Behind Me Satan. One of the best traits of the White Stripes is that a song never over stays their welcome. They are willing to let a song end under 2 minutes which is rare. They said what they said and did it succinctly. On the other end, you'll get a 7 minute barn burner in Ball and a Biscuit. It's that versatile talent of the duo. There's a beautiful dance between the two where drums and guitar shine individually and tango together beautifully. I would list any of their albums as an album you should listen to before you die, but it's undeniable that this belongs in every list.

This album makes me want to jump on a chopper and rip through the Mojave Desert. This is a great soundtrack for a southwestern road trip. Highway Star kicks the album into high gear from the very start and hardly lets off the gas with each song. You get the iconic Smoke on the Water riff but everything in-between is grooving and pulsing. Some great electric organ fiddling mixed with crashing cymbals makes a seven track album feel like a deluxe double disc set. It's a manifestation of "cool". Intense, groovy, and adventurous.

I love a piano ballad from time to time. I love great story-telling in music. But I just can't get into Billy Joel. I don't know what it is. Even his upbeat jams feel like someone trying to sound cool and I can't buy into it. I was hoping to come out of this album a fan of Mr. Joel but I'm left feeling the same.

There's a lot to like here in the sweet guitar licks, the harmonies, and the overall psychedelic sound. It's bluesy and experimental and I can see how it's influential. The album is never self indulgent with the average song sitting around 3 minutes. I think this is another album that's best in the right environment. If my tab just hit at a chill party, I could totally get down with it. It's too bad Eric Clapton is a total knob. 3.5 stars

I wouldn't consider myself a jazz connoisseur by any means. I enjoy a late night drive listening to 88.1 KJAZZ from time to time, but I am no expert. However, this album was a joy to listen to. It's palatable. You don't need to be a music snob to "get" it. At times, it's bombastic and swingin'. Others, it's smooth and groovin'. If I wasn't driving during my listen, I'd be on my feet shaking a leg. Jazz may be fading from the mainstream, but there's a reason Duke, his music, and his legacy have stood the rest of time. Looking forward to getting the full experience with the expanded version in the future.

I've heard "Love Will Tear Us Apart" a million times. I've seen this album cover a million times more. So in that regard I know who Joy Division is. At least I thought I did. Today I learned I didn't know shit about Joy Division. Because... I. Love. This. Album. If the Ramones were putting surf rock through an electric chair, Joy Division was laying it on a bed of nails. The gut punching bass lines counter the jangling guitar and mixed with Ian Curtis' crooning create a haunting but deeply relatable sound. I had to listen to this album while reading the lyrics because the writing is such a vital part of the whole package. It's such a beautiful and real exploration of self loathing and despair which would fit right in with today's songwriting. But this album was released in 1979! So far this adventure has led me to plenty of music from the 70s and 80s and none of them touch on this subjects. I used to think that Joy Division was a late 80s, early 90s band but they were in the throughs of the punk movement of the late 70s. Truly a shame that their fame came too late. RIP Ian Curtis. But they sure created magic with the time they had. I know understand why so many people have a T-shirt with this album cover on it. Think I might have to get myself one. This listen was truly a joy..... division. Okay I'll see myself out.

Hip-hop as a music genre has had an arduous path to the mainstream over the years. It's so well documented because it's relatively new. Listening to this album was a great reminder of how different it was just 40 years ago. Simpler but exciting and fresh compared to the offerings of pop and rock songs at the time. Raising Hell may not be the most technically complex or poetically written piece of music. I probably wouldn't even call it Run-DMC'S best work. But it is vital to hip-hop's journey to being accepted and appreciated by radio and the average household. The fun of the album is the thesis of each song being completely random. A whole song could be focused on bragging about their DJ Jam Master Jay. The next could be spent appreciating their favorite footwear. It's just fun honestly. I detest Aerosmith so Walk This Way is a tough listen, but I can still appreciate its importance in music history. Two behemoths at the top of their genre collaborating to making a beloved rock and hip-hop track. However "soft" this album may seem at times, it still has moments of making a statement in songs like Proud to be Black. So maybe making a more accessible album proves to be a great way to get a more serious message into suburban households.

I don't think there's much I can add to the discourse about Prince and his musical legacy that hasn't already been said by much better writers and experts. I learned that 1999 was his first album with The Revolution and it shows sonically. There is something more filling about this album with this collaboration of artists. 1999 to Little Red Corvette to Delirious is a fantastic 1-2-3 punch to kick off the album. With each track, the album gets hornier and hornier, but that's kind of the charm of Prince. A raw sexual energy unashamed to express it. No poetic metaphors needed. Dude wants to fuck and he wants everyone to know. You can hear the early influences for dance and techno music in bits and pieces of this album. The stuff being ton with synths and drum machines throughout is innovative for the time and the foundation for the future of pop and EDM. 4.5 stars

This is the type of experience I was looking forward to on this journey. A band I'd never heard of, an album I'd never heard of, and none of the songs are familiar. And it was a good listen. A lot of great lyricism about the highs and lows of love and the ways it makes us crazy. All lead by the sleazy crooning from the lead singer. Sometimes the songs have a sort of sci-fi fantasy element to them. Kind of Bowie meets Velvet Underground. I dig it.

Tom Waits' signature sound is divisive but incredibly unique. You love it or you can't stand it. But he doesn't give a shit. That being said, I really do love it. Waits feels like a folktale character with his permanent scowl, his tilted hat, and a voice made for grinding coals into diamonds. He's like an omen you encounter in an open desert. His music isn't conventionally pretty and that's on purpose. This album sounds like it was made in a cellar (because it was). The percussion sounds like it's made up of a trash can and some pots and pans. The songs build up like they're coming from the sewer. They're grimey and wet but that doesn't mean they can't also be sweet. There's a wide range of emotion in this album scattered in the clinking and clanking beats. Passionate love songs mixed with angry warnings of a collapsing earth. They may feel sonically similar but that's where the lyricism shines. Waits can tell a story like no other. Songs like In the Colosseum, Goin' Out West, Murder in a Red Barn, and Black Wings really stood out to me for this reason. For someone with such a massive discography dating back to the 70s, it's interesting that an album from the 90s is the one on this list. Anyways, time to dig into more of the Time Waits well. 4.5 stars

I really struggled with this album. I tried really hard to like this album but it did nothing for me. It felt like something you'd hear in a starbucks in the 90s. She's clearly very talented but her sound just doesn't resonate with me. At times it was a tedious listen. I don't know how else to describe it other than "boring". Feels bad to say that. Just not for me.

chooglin' verb • to ball and have a good time | I'm just a chooglin' on down to New Orleans. Origin: John Fogerty I woke up this morning and saw today's album. I said to myself "hell yeah". Needless to say, I've been chooglin' all damn day.

I've heard "Rehab" plenty and although a great song, it's just become stale for me. Listening to Frank reenergized my fondness for Amy Winehouse. The predecessor to Back to Black feels a lot less pop and more connected to the sounds of old. But let's be clear, this is not just some throwback gimmick. The jazz ensemble introduces hip-hop beats and Amy provides the attitude to give this album a modern swagger. Winehouse has an incredible ability to swing from sharp and biting to gorgeous and soulful and back again. Fifteen tracks does seem lengthy but it sweeps by, especially if played in the background while doing chores or cooking dinner. This album made me realize that Amy was kind of the pop music transition from the era of Britney to the era of Gaga. It's a shame her spotlight was so short lived.

I'm not a fan of reggae music. It reminds me of young rich white people being perpetually high and annoyingly apolitical because the only message they get from the music is peace and love. I don't consider myself a cynic, but I am worried and every little thing is not going to be alright, Robert. Anyway, once I got to Three Little Birds, I caught myself singing along to the chorus, so I guess I'm a fraud.

This album has a cosmic whimsy about it and great use of layered harmonies. What's interesting to me is that it feels like the foundation of the oncoming indie music scene with bands like Animal Collective, Grizzly Bear, MGMT, etc. I don't know if it'll be part of my regular rotation but I would be interested in listening to more of The Beta Band. The album ends with the line, "The people with the answers, lie. They lie. So no pizza for them" That alone deserves its own star rating.

This is just some good country music. Great storytelling and gorgeous fiddle. The end of the album explores the highs and lows of love which I found very sweet.

Beautiful. Soulful. Classic. It's Al Green, baby. This was a breeze of listen over a relaxing weekend.

Who says punk can't be jolly? The Pogues certainly know it and do it well. Their blend of Celtic folk and punk make for some great pub songs. McGowan has a unique voice carried by his growling and sloshed Irish lilt. Makes me wonder if Tim Armstrong is a fan. If you love a frenetic shanty, then this album is for you.

The Motown inspiration is clearly there but it doesn't really evoke the same feeling. I'm just left wanting to listen to Marvin Gaye instead. This feels similar to John Mayer. A talented musician's attempt at soul music that just feels emotionally limp. Between this and the kd Lang album, I'm thinking that the 90s lounge rock does nothing for me.

I like to pick it up, pick it up, pick it up as much as the next guy, but I'm very selective when it comes to ska. My favorite parts of the album were the more punk focused songs. For this reason, Night Klub and Concrete Jungle were some highlights for me. The more reggae focused songs didn't really resonate with me. Stupid Marriage plays out a bizarre and chaotic court scene, like something out of an Adult Swim cartoon. It's the type of storytelling that would stick around in the genre with bands like Sublime. Overall, a fun listen. I might not come back to it in full, but there are some songs I'd put in my regular rotation. Side note: I once went to a music festival with The Specials on the lineup. They used A Message To You Rudy in pretty much all of their marketing material. For like a month I heard that song way too many times and it drove me crazy. So hearing it again gave blme PTSD flashbacks. 3.5 stars

Beautiful instrumentation and songwriting throughout. Taylor plays around with different genres to varying degrees of success. It was hard to accept Steamroller Blues because his voice is just too sweet and friendly for the blues, but once the rest of the band kicked in, I was sold. The album plays out in 30 minutes making it a nice and easy listen. 3.5 stars

An iconic artist's most iconic album cover. With Aladdin Sane, Bowie puts on a new mask and switches space operas for pure rock 'n' roll. Gone is the cosmic psychedelic sound. Instead, we get bouncy pianos, electric guitar licks, and even some blues harmonica in "The Jean Genie". Bowie seems almost possessed by the spirit of Lil' Richard as he pours his soul into some high speed glam rock. This album may not have all the hits, but it's a clear indicator that Bowie isn't a one trick pony. Also just realizing that Aladdin Sane in a play on words (a lad, insane). Wild.

Every once in a while, I'll check out a popular bands discography to get a better idea of their career path. Sometimes what happens is I'll listen to one of their albums and be shocked to see that it has a massive amount of hits on it. Pearl Jam's Ten or Fleetwood Mac's Rumours are good examples of this, and for today, it's Green Day's Dookie. It's truly incredible to see how many songs on this album still get regular radio play today. It's well deserved. There's a running laziness throughout these songs both in the lyrics and their delivery. Billie Joe Armstrong makes it very clear that he's bored. A lot of times just outright saying it. Where punk and grunge usually approach their criticisms of the world with anger and ferocity, Green Day meets it with apathy. They're saying, "The world sucks, I've tried everything to feel better but nothing is working, so please get me out of here." That moodiness, however, is still very punk rock in it's execution. Most of the songs rip through in under 3 minutes. You get the neverending distorted guitar riffs. Every gap is filled with the quickest snare drum fills possible. You even get groovy bass lines like the one feature in She. And most importantly, there's an immature dark humor that kills throughout the lyrics. There are songs about masterbation and suicide bombing all in the same album for crying out loud. Growing up and gaining success has naturally made Green Day stray away from these types of themes but that could be for the best. Eventually that angst subsides and you leave childish humor behind and that's okay. (Looking at you, Blink-182.) At least we still have Dookie.

When speaking on the indie rock movement of the late 00s/early 10s, The National are a band you'll hear mentioned a lot and deservedly so. Their sound perfectly encapsulates that young melancholy. It's that feeling when you're no longer a teenager and yet still so lost navigating your twenties. Wether or not it was intentional, their music feels like it was made for a coming-of-age indie film. There's a haunting bass that resides throughout the songs whether it's from the thunderous drums or Matt Beringer's vocals. It never stays there though. It swells and swells into this overwhelming crescendo. The songs feels painful but they're not depressing. In fact, they're full of hope. There's a fight in them. There's a lesson to be learned. Whether it's trying to be a better person to save a failing relationship, or finding comfort in letting go of love. These songs become cathartic. 4.5 stars

I go to this band's Spotify page and not a single song from this album is in their top 20 songs played. Now, I know this list isn't a popularity contest. It's just weird that they have music dating back to the 70s, and this album from the late 90s (that's a complete departure from their usual sound) is the choice. I gave it a shot but I genuinely could not finish the album. I just couldn't get into it. It feels like Magical Mystery Tour or Sgt. Peppers, but if they were made for an educational kid's show. It aims to be whimsical, which it kind of succeeds in, but the magic just isn't there. I think a big reason, honestly, is the lyrics and vocals. Every time I was starting to vibe with a song, the vocals would come in and feel so far removed from everything else. I wouldn't call it a bad album in an objective sense, but I just really didn't like it.

Leonard Cohen songs give you descriptor after descriptor that paints a beautiful and sometimes heart breaking scene for you. The words are poetic and his voice so sweet. It gave me this rich melancholy feeling, in the best way. It's overall just great songwriting. I was already a fan of Cohen but I'm really going to dive into his works now.

Dire Straits feel like a rock and roll revivalist act. Desperately trying to keep the old time sound alive in the '80s, where synth and music videos have taken over. And yet, when I listen to them it makes me think of "cool". Cool in that smooth nonchalant way. Most likely, it's coming from Knopler's vocals, seemingly unbothered or strained. Their blend of jazz, blues, and country is grooving. However, as I'm listening, I keep thinking, "this must be a tough song to play". Playing complex songs, seemingly effortless, is pretty cool to me.

Smooth jazz tends to remind me of being on hold or in an elevator. I would never label it as boring, but it does have the quality of background music. I think I just like my jazz with a little more pep in it's step. However, if I'm in a place playing bossa nova, it does feel comfortable. This was a relaxing and easy listen on a Monday, so that was pleasant. No complaints here. Clearly Getz and Byrd are masters of the craft and I really enjoyed the Spanish guitar throughout. 3.5 Stars

This is one hell of a debut album. A breezy 9 tracks and 2/3 of it still gets radio play regularly almost 50 years later. The Cars represent this interesting shift in music. It's got a genuine rock sound with plenty of riffs but the synth is largely present throughout creating an early new wave sound. If the Ramones turned the Beach Boys sound into punk, then The Cars turned it into new wave. Ric Ocasek has a lilt in his delivery that almost sounds like a nerd trying to act cool, but that's not a problem. It's rather fitting for the songs' themes about longing for love from girls that might be out of your league. And when the chorus comes, he's joined by his bandmates, creating an exciting harmony. It punches a stamp on the song that is largely responsible for making these songs classic earworms. The Cars found a great mix of classic rock (even for the late 70s) and new wave that would set the tone for the oncoming 1980s. It works so well and their place in the evolution of rock (and pop) is important and legendary. 4.5 Stars

I'm a big fan of this weird era of pop rock. A bunch of bands trying to ride the wave of success The Beatles found by getting on TV and reaching the hearts of teenage girls across the country. But they had to find their gimmick that set them apart and for Paul Revere & The Raiders it was dressing up like the founding fathers. Bizarre but endearing. As far as this album goes, I really enjoyed it. Plenty of soul and funk influence while being fun and catchy. Maybe not as much soul as The Animals, but also not as cheesy as The Monkees. Just a fun time all around. (Also, I know it's a product of the time, but referring to your crush as "little girl" is just so creepy. So many bands from this era do it and it makes my skin crawl.)

This is a fascinating album. There have and always will be songs about breakups. There will always be whole albums dedicated to a breakup. But this album takes it to a whole other level. An hour and some change dedicated to your divorce and admonishing your ex-wife is top tier pettiness. On the surface, it's a beautiful album. Marvin Gaye is in peak form. It's full of soul and plays with all the experimental vocal layering he became known for. But dig in a little deeper and the lyrics are stuffed with bitterness. The whole album can be reduced to: -"Why don't you love me anymore?" -"Since you don't love me, you broke our vows and that makes you a liar." -"I have anger management issues but you make me angry so it's your fault." -"Why do you get my money in the divorce settlement?" Oh, and then there's a sci-fi song about falling in love in space. Wild. I'd find this enjoyable if there was a more nuanced approach and some more self reflection and accountability. But I mean, Gaye goes into some weird details about the divorce settlement with lawyers. It's bitter, folks. Gaye is a legend but I think I'll stick with What's Goin' On.

In 2025, Gorillaz are a staple in the music scene. Each album is a collaborative work horse made up of a plethora or music artists with a tracklist spanning a variety of genres. The animated characters have deep lore and character arcs that become expanded with each album. You don't know what you're gonna get the Gorillaz come around but you know it's going to be good. But in the year 2001, Gorillaz was a novel concept album by Damon Alborn. If you were a music nerd, you'd be wondering why the lead singer of Blur was singing over hip-hop beats. If you were a kid, you'd be wondering if this was a new show on Cartoon Network about a band. It was so unique and confusing. Upon first appearances, it was hard to tell exactly what Gorillaz were or were supposed to be. But nonetheless, it was very cool. The debut album isn't full of features that would grow with each album. However, the few collaborative songs would become some of their most famous. Clint Eastwood is the song that ended being most people's introduction to the band and I think it perfectly exemplifies Alborn's vision. A melodica hums throughout the song supporting Alborn's smooth crooning and is eventually broken up by a brash rap verse from Del the Funky Homosapien. The track is complex but very chill and is easy to see why it became a hit. It's a debut album that would set the tone for a legendary 20+ year career for the "band". Like are you really a "cool" music artist if you aren't featured in a Gorillaz song? Probably not. 4.5 Stars

The Go-Go's are proof that rock music doesn't have to be rough around the edges. Their polished sound gave them a pop appeal that was fitting for commercialization and movie soundtracks. But beyond the classic hits like We Got the Beat, The Go-Go's are pretty damn punk. Within the bubbly nature of the tracks are a surf rock attitude that you can't help but dance to. There's plenty of variety in this album, with not every track being bright and sparkly. The girls play around with their timing and harmonies to give a different tone throughout. I found the bass lines would truly define the energy of each song which is something that's usually not easy for me to notice. With a short lived career as a band, albums like this are easy to see why The Go-Go's are a name that have stuck around for decades.

While listening to the opening track, I was incredibly confused as to what I just got myself into. It felt like I was listening to the score of a final battle in a sci-fi fantasy movie. Then, "Smiling Faces" comes on and slapped in the face for ever doubting this album. BS&T is truly an experimental sound. The vast orchestra of instruments bounce around from rock to funk to jazz spontaneously. At times it feels like there's a song within a song. You'd think an electric organ and a piano going at the same time would be a chaotic mess, but the two mesh so well in these songs. Sometimes, the changing of genres can feel a little disjointed but I appreciate the risks being taken. Albums like these are why I'm glad I'm taking this journey. I don't see any way I'd end up listening to something like this, but I'm glad I did. 3.5 Stars

I've been sucked into an underground warehouse rave somewhere in Europe. We've been dancing all night and we're profusely sweating but we're not stopping until the sun comes up. I'm in the middle of a chase scene in a late '90s action movie. I've committed some sort of cyber crime, like hacking, but it was to bring justice to a corrupt system. I'm probably wearing some baggy pants with too many pockets. The Shamen have a classic electronic dance album here. It hits all the right notes with fast tempo hip-hop beats and a plethora of experimental sounds. I'm not an expert in this realm but this has me movin' and groovin'. I usually space out when listening to techno, but this has enough variation to keep my attention.

Billy Bragg doesn't dance around his messaging with flowery poetry and deep metaphors. He's gonna make sure you understand loud and clear his criticisms. In Ideology, he calls out lying politicians that don't fight for the people. Help Save the Youth of America is a breakdown of American malaise and how it affects the world and in turn affects America. There Is Power in a Union basically says it all in the title. It's all right there for the listener, delivered in his brash mumbled accent. (Admittedly, I had to have the lyrics out for some of the songs.) However, the album also has a sweet mix of songs about love and the struggles of relationships. He's a lover and a fighter just like any of us regular folk. Billy has spent an entire career talking the talk and walking the walk and his legacy is well deserved.

Sophomore albums are probably the worst challenge as a music artist. Especially if you're coming off of a surprise hit debut album. The expectations are incredibly high. Stray too far from the sound of the first album, the fans may abandon you. On the other hand, if you're too close to the previous album it'll just be a rehash and critics will say you're a one trick pony. Seems like Lorde was pretty unfazed by any of that when putting together Melodrama. Her debut album, Pure Heroine, is a celebration of that invincible youth. It's about feeling rich with friendship without caring about being rich with anything else. Late night drives. Making mistakes. Getting into trouble. Infinite memories. Melodrama is a confrontation with this newfound fame and fortune and how it's made her jaded. Having spent so long dismissing the lifestyle, Lorde found herself sucked into it. Can you be a major popstar but also still just be that girl from New Zealand? Underneath the wonderful lyricism, is incredible and diverse production. It's all the little details that make this album so great. With each listen you discover something new and it makes you come back to it again and again. I still get hyped when that "ch-chk" hits on Perfect Places. Green Light opens the album and when that beat kicks in with the frantic piano, your heart starts racing as it prepares for the chorus to hit. Next comes Sober, opening with a classic Antanoff vocal sample right into a bongo beat. This track, and many others, takes you through so many variations but somehow finds it's way back very effectively. Like how does The Louvre build up these gorgeous harmonies and then cut straight back monotone one liners? Somehow it's not jarring at all. And don't even get me started on that incredible shoegaze guitar that rides us out to the end of the song. I don't know if there's a pop artist that does a better job building songs into a dopamine hit crescendo. In this album alone you have Green Light, Supercut, and Perfect Places, that all take you on this slow adrenaline rush. Once it hits the big payoff, you can't help but dance. Pure Heroine introduced us to Lorde and her potential. Melodrama firmly stamps her place in pop music royalty. (Whether she wants it or not.)

I don't speak a lick of Portuguese. I didn't understand a single lyric. I don't know any of the themes touched on in these songs. And yet, this album fucking rocks. Music truly is a universal language. Every song is overflowing with contagious joy. The only suitable response is to just dance, baby. Also, I love that monkey howling sound that's common in Samba/bossa nova music but always thought it came from an oboe or some other woodwind. Ends up it comes from a drum called the cuica. The more you know.

Listening to this album was a pleasant experience. Nick Drake has a warm whispery voice matched with beautiful instrumentation. It feels like a serene walk through a forest or along a hilltop. All of this is juxtaposed by deeply personal and troubled lyrics. There's a lot of introspection layered in the pleasantry and it creates music worth listening to again and again. 3.5 Stars