The Next Day: boring ass dad rock Dirty Boys: cool groove cool vibe but it's just okay The Stars (Are Out Tonight): literally this is a suburban dad jamming with his golf buddies in the garage. like local worship band level uncool Love is Lost: starting to accept that this album might just be ass. why does the mix feel so empty? it's doing the song that's there a disservice because it sounds like cheeks and nothing is hitting with any force Where Are We Now?: his vocals sound nice on this. it's just a cheesy piano ballad but I'm not mad at it. reminds me a little bit of Shakey Graves' more recent stuff. Valentine's Day: first song I actually like, nice hook and the extra little guitar riff after the chorus is gongeous. catchy If You Can See Me: this shit is corny as fuckkkk. The Mars Volta for even lamer people I'd Rather Be High: hate this Boss of Me: I like this one. something about it feels off-kilter in a cool way. Dancing Out In Space: definitely was into it when the song first kicked in but the vocals nuked that entirely How Does The Grass Grow?: ummmm yaaaaa ya ya yaaaaa ya ya yayayayaaaaa (You Will) Set The World On Fire: it's just so unremarkable. sounds like it's from a musical You Feel So Lonely You Could Die: extremely decent song, sounds like some of his older stuff. cheesy ballads are 2/2 on this album Heat: love the spacey hypnotic atmosphere but it just doesn't go anywhere interesting enough to suit me _____ SCORE: 3/10 ADDED TO PLAYLIST: --

Girls & Boys: sploinky a little bit. the chorus is so cunty, I love the queerness of it. I've never listened to Blur before so I wasn't sure what to expect but this is a lot of fun Tracy Jacks: love the snare. it's not bad but it's kind of repetitive. End of a Century: weird chord progression on the verses (positive). I like this song but I wish the chorus gave a little more. Parklife: title track(!) so much fun, it had me smiling. really charming. Bank Holiday: goofy lil punk song. nothing incredible but it's a super fun cut and it makes me excited for other left-turns on the record. Badhead: inoffensive and mid-tempo The Debt Collector: polka? oh it's actually just polka for real Far Out: this is so funky, what an odd track. acoustic circus alien? I can't think of any direct comparisons which is pretty cool. To The End: it's alright but it's a little hokey. I like the chorus. shoutout to the circus music break during the bridge London Loves: ooooooo what is this? LOVE the way it comes in. really liking the sound/vibe of this one. catchy. Trouble in the Message Centre: super duper cool. I want to say it sounds like DEVO but I don't actually know what they sound like Clover Over Dover: this shit sounds like the Goosebumps theme song. I don't feature the verses but the rest is interesting Magic America: I like it but I was already starting to get sick of the chorus by the end of the song so I'm not sure how replayable it is. Jubilee: midpoint between punk and dad rock. chorus hits This is a Low: psychedelic + moody. this one eats Lot 105: roller coaster tycoon reggae. cartoon theme music. ending the album with this is so funny like what was the reason ___ SCORE: 7.5/10 ADDED TO PLAYLIST: Girls & Boys, Parklife, London Loves, Trouble in the Message Centre, Jubilee, This is a Low

two Blur albums in a row out of 1000 is insane. it's prestidigitation For Tomorrow: really like the production on this, although that might just be the remaster. I respect a lalalalalala chorus. they love to make a relatively straightforward pop song with just a handful of weird twists and choices and I think it works most of the time, there was a lot of the same on Parklife Advert: punky. kind of a Weezer vibe? I dig the guitar riff and the energy, this one's gonna be stuck in my head Colin Zeal: he's pleasing himself he's pleasing himself aaaaaaaaaaaa (this is a pretty cool song, the chorus is a little too repetitive for me so I don't know if it'll stick but I was entertained) Pressure on Julian: these vocals do not sound good at all. the lyrics/vocal delivery kind of made me cringe at times too and I'm not even really a lyrics guy. appreciate the swing but it missed me Star Shaped: vocals are a step up from the last track but like...only one step. not a huge fan of this one Blue Jeans: the drums sound soooooo good. the song itself is just okay, I want to like it more than I do but it just doesn't quite click Chemical World: that guitar tone is bananas like actually. this is a cool one, it hooked me more and more as it went along which is always cool for a song that's longer like this. 0/0 because the hurdy gurdy ass outro was only two minutes of the song and not all six Sunday Sunday: not feeling it much. like The Hoosiers if they were less good Oily Water: they went stupid on the production for this one, that skittery glitchy effect on the guitars is so sick. I like how much they let this song breathe, the last two or three minutes are almost completely instrumental Miss America: they put this song in a cave. feels 10 minutes long Villa Rosie: some really solid WOOHOOs on this one. everything else is just okay Coping: filler. sounds decent but doesn't do that much Turn It Up: this song isn't bad, maybe a little stagnant Resigned: kinda dull. crazy outro though for no reason it's hard to not compare the two albums getting them one right after the other. I think Parklife is a slightly better album with better hooks but I prefer the sonic palette of this one overall. this one appeals to my personal tastes more but the songwriting isn't quite as strong. also Parklife is just purely more fun, this album is a little more serious and moody (which I often prefer, but Parklife has a charm to it that this record doesn't really) __ SCORE: 6.5/10 ADDED TO PLAYLIST: For Tomorrow, Advert, Chemical World, Oily Water

first album that I know for sure is like a classic classic so I'm excited to hear what all the fuss is about Five Years: cool opener, love a slow build that actually has a payoff. surprised by the screaming, didn't know he was chill like that Soul Love: oh this chorus eatssss. love the lounge-y groove. Moonage Daydream: the vocals are chewing hard on this album. this is what I was expecting to get from a Bowie record (positive) Starman: the mix on this is out of fucking control. good song It Ain't Easy: I love how hair metal his voice is here, and the chorus hits like a truck. sounds like a classic but it's one of the least listened tracks on the album. Lady Stardust: vocals are the star again and again. it's good but it's not a hit to me Star: sounds so much like Billy Joel. or maybe Billy Joel sounds like this, I don't actually know who did it first Hang on to Yourself: insane that this song is over fifty years old. a British post-punk band would drop this shit today zero hesitation. Ziggy Stardust: this is like when people make fun of prog rock. really love the mix on this one though Suffragette City: the guitar tones are suuuuuper nice. great chorus + great energy, big fan of this one Rock 'n' Roll Suicide: his nonchalant delivery at the start really stands out from the rest of the album and then it just builds and builds in intensity until it boils over. this song is fucking amazing genuinely. happy to say that I was not disappointed by this one, I completely understand why it gets glazed so hard. not everything on here is to my taste but the quality is undeniable, and I feel like the songs that I liked will be growers __ SCORE: 7.5/10 ADDED TO PLAYLIST: Soul Love, Moonage Daydream, Starman, It Ain't Easy, Suffragette City, Rock 'n' Roll Suicide

I know this is the dude from The White Stripes but I've never heard any of his solo stuff, so I'm interested to see what he's up to. Missing Pieces: Modest Mouse if they were ass Sixteen Saltines: definitely like the energy on this more than the first track but it's still not really clicking for me. I think I don't like his voice that much, at least not the way it's mixed here Freedom at 21: the vocals are giving Mindless Self Indulgence. this is a cool song, my favorite so far Love Interruption: the lyrics are compelling, the song is just okay Blunderbuss: it's fine Hypocritical Kiss: it's fine, lyrics are kinda stilted to me Weep Themselves To Sleep: boring as hell, no part of this works for me I'm Shakin': it's like a parody of Elvis and it just sounds corny to me, it doesn't have the swagger and charisma that this kind of song needs. YOU GOT ME NOIVOUS is funny though Trash Tongue Talker: it has some redeeming qualities but I still don't like it. feels like a song that men in sunglasses who record Facebook manifestos in their trucks would listen to Hip (Eponymous) Poor Boy: something about this album just doesn't feel authentic to me. it's aping older artists but not in a way that innovates or improves upon it. it feels like an imitation not an homage. I Guess I Should Go To Sleep: this is the least listened song on the album on Spotify, which makes sense. Shakey Graves if he was ass On And On And On: it's whatever Take Me With You When You Go: at least this one was interesting, the switch up halfway through was cool. still not really into it, some of those vocals are roughhhh not really featuring this one. it's not THAT bad, it's just uninteresting for the most part and it doesn't sound that good to my ear. ++ the comments above about feeling like an imitation __ SCORE: 5/10 ADDED TO PLAYLIST: Freedom at 21

The View From the Afternoon: fun song, got me excited to hear the rest of the album. random ska break *I Bet You Look Good On The Dancefloor: really good song, stupid catchy. wish it had a little more grit maybe but that's not a negative, just personal preference. it definitely has a vibe and a presence regardless *Fake Tales Of San Francisco: enjoyed this one a lot. I feel like I don't have a lot to say about these tracks because they're not particularly unique, they just do this sound really well *Dancing Shoes: high energy, aptly titled. reminds me of Bloc Party which tracks since this was around the same time *You Probably Couldn't See For The Lights But You Were Staring Straight At Me: Fall Out Boy ass title. random comparison but this reminds me so much of a specific song by The Bobby Lees, maybe Dig Your Hips? love the parts where the guitars kick in full blast, had me bobbing my head along for sure *Still Take You Home: pretty similar to the last song so I also like it (maybe a little better), but they're basically interchangeable Riot Van: feels like an interlude, nice to have a little break but nothing special to me *Red Light Indicates Doors Are Secured: the bass line/guitar riff during the verses fuckin rocks. love the bridge too. great song *Mardy Bum: this is fantastic honestly. sometimes a song just has some unidentifiable thing that makes it feel like a classic and this has that to me *Perhaps Vampires Is A Bit Strong But...: they cranked up the distortion on this one (thank God). the build during the instrumental break goes crazy, I wanted them to keep at it for like two more full minutes. *When The Sun Goes Down: that guitar riff is such ear candy. thought it would be kind of a snoozer from the start but it's energy on energy on energy. love this one *From The Ritz To The Rubble: chorus is massiveeeeeee, fuzzy dance-y punk-y goodness. I keep expecting to find some filler but it's truly all killer straight through A Certain Romance: love that twinkly guitar tone. has a bit of a ska feel again with the guitar plucks on the upbeats. glad it has a big payoff towards the end because aside from that it's a bit whelming for an album closer this album is pretty much set up to win by being post-2000's indie rock which is not only my bread but my butter as well, whereas everything else has been stuff I wouldn't have listened to on my own. I guess you could call this a zero skip album since it's consistently solid throughout even though not much of it is remarkable. the couple songs I didn't save were still good, but I'm okay just hearing them if I decide to spin the entire record (which I probably will). also the vocalist sounds like a douchebag but that's par for the course with all these rock albums __ SCORE: 7/10 ADDED TO PLAYLIST: I Bet You Look Good On The Dancefloor, Dancing Shoes, You Probably Couldn't See For The Lights But You Were Staring Straight At Me, Still Take You Home, Red Light Indicates Doors Are Secured, Mardy Bum, Perhaps Vampires Is A Bit Strong But..., When The Sun Goes Down, From The Ritz To The Rubble

this is the first band that I have never even heard of, so that's exciting. based on the cover and the year, I'm guessing this is going to be a psychedelic moment. Hungry Freaks, Daddy: interesting, not sure what to think about it. it's pretty bad but it feels like it's in an intentional confrontational way, like proto-punk? it has political lyrics as well which makes me think this album is on here because it was influential in that way, if that's the case that's super neat. I Ain't Got No Heart: again, not something I would really listen to but they keep making choices that are so interesting for an album from the 60's (the pig squealing and screaming guitars at the end???). Who Are The Brain Police?: throwing this one to my "extremely bad songs to trip to" playlist immediately. strange strange track Go Cry On Somebody Else's Shoulder: pretty standard doo-wop ballad type deal but it definitely feels like it's ironic + poking fun at the genre, especially the last verse Motherly Love: maybe writing a song about dating/fucking a barely 18 year old girl by comparing it to a parent-child relationship is not the move. especially not a boring song How Could I Be Such A Fool: decent one. I can't really get into the sound of it but there's something there for sure. Wowie Zowie: this is such a stupid song lol. "I don't even care if you shave your legs" feminist icon + very generous of him You Didn't Try To Call Me: what happened to all the experimental stuff at the start of the album? sounds like the Price is Right theme song but it builds into something really cool about halfway through Anyway The Wind Blows: this one's catchy, easy to listen to I'm Not Satisfied: "maybe I'll just kill myself, I just don't care no more" real shit. it's like darksided Billy Joel. interesting track You're Probably Wondering Why I'm Here: one of the dorkiest songs I've ever heard. kazoo solo. YEEUHHH! Trouble Every Day: harmonica loud as hell in the mix. not sure the political analysis holds up today but it's dope how it cements the song in its time. he had a little bit of white guilt before having a little bit of white guilt was cool. Help, I'm A Rock: dude sounds like the sample from Mercy by Kanye. this is maybe an insane thing to say but I can see the through-line from this to something like Chat Pile today. It Can't Happen Here: when people tell me they have ADHD this is what I imagine is going on inside their brain. I respect the experimentation even though I hate it. pretty objectively one of the worst songs I've ever heard The Return Of The Son Of Monster Magnet: 12.5 minute song, locking in. this is the craziest sheet of lyrics I've ever seen, bro is post-verbal. it is truly just noises but I guess every other song is too. second addition to my "extremely bad songs to trip to" playlist conflicted on this album. I didn't actually enjoy a single song on here but I enjoyed getting to hear it and I appreciate it for what it is. it pushes boundaries and provokes in a lot of ways, and there's experimentation on here that telegraphs so many different directions that music ended up going in. it's the first record I've gotten that feels like it's genuinely influential and moving the culture forward instead of just a collection of good songs from a point in time. cool stuff __ SCORE: 3/10 ADDED TO (my actual) PLAYLIST: --

*See No Evil: this is a vibe. it's punk and it sounds good for its age, really really like it Venus: the guitar parts have been pretty intricate on both songs, like starting to have a suggestion of math rock. they're definitely stealing the show. enjoyed this one too, it reminds me of some of Crack Cloud's stuff Friction: this track is a little less successful. the guitar work is still dope but the vocals + lyrics are a miss for me *Marquee Moon: 10.5 minute song, locking in. this sounds like half the post-punk coming out today. also you could tell me the instrumental break is from a King Gizzard song and I would believe you without hesitation. overstays its welcome a smidge but it's good Elevation: love the moodiness and the sad country song guitars in the verses but the chorus is cheeks genuinely. Guiding Light: Cameron Winter heard this song and said yep that's the one. it's not bad but it doesn't do that much. Prove It: I'm just having a hard time with his voice on a lot of these tracks. I like the songs but his vocal performance is dragging them down a bit. *Torn Curtain: funky guitar tone (complimentary). the chorus is great, the piano is giving it to me. reminds me of Pistolita a bit. not sure why this is the least listened track, it might be the best song on the album this was a cool one. even though some of the songs fell flat for me, I listen to so much modern music that clearly drew from this wellspring so it's right up my alley. the guitar work throughout is consistently super sick, it's always holding it down even on the songs I otherwise didn't feature. fun listen __ SCORE: 7/10 ADDED TO PLAYLIST: See No Evil, Marquee Moon, Torn Curtain

*Vicious: not bad, it's a cool vibe. like David Bowie x Viagra Boys. the lyrics are so straightforward that it kind of makes me laugh e.g. "You're not the kind of person that I'd even want to meet" Andy's Chest: what the hell is this dude talkin about *Perfect Day: I dig this one. it has the earnestness you need for a love ballad like this, his voice sounds great too Hangin' 'Round: it's alright. it definitely is a song. Walk On The Wild Side: this one's okay, I think the lyrics are interesting but it's not really my thing sonically. the casual spoken word thing is always a tough sell for me. also the GIRLS OF COLOR go do-do-do-do-do-do, it's 2025 Make Up: kinda gay Satellite of Love: this album is just boring me to death unfortunately. the last minute or so is pretty cool though. Wagon Wheel: watusi. one of the better songs on here I guess New York Telephone Conversation: musical theater moment I'm So Free: it's fine Goodnight Ladies: monsters inc. theme song I feel like there's literally a million albums that sound like this, I just don't understand why this one is especially important or influential. didn't leave that much of an impression on me, although I dig the openly queer lyrics on a couple songs, we love to see a little transgression. it's not bad but it's just not a sound I find particularly enjoyable so there's not really any way around that. __ SCORE: 5/10 ADDED TO PLAYLIST: Vicious, Perfect Day

*That Lady, Pts. 1 & 2: the vocals are smooooooth. I'm pretty sure I've heard this song before? guitar tone in the solo goes sicko, the mix in general is really really nice on the ears. *Don't Let Me Be Lonely Tonight: this song is incredible. feels like I'm going to be saying this a lot but the vocals are seriously stupid good, dude ate chewed and digested this entire track. If You Were There: this one's decent. nothing wrong with it, the melody just doesn't hook me the same as the other tracks so far. lyrics are cute *You Walk Your Way: love the groove on this. dope song. super solid songwriting and great performances from everyone *Listen to the Music: LOVE the groove on this, stankface city. wait, is this a cover??? or did another band do a famous cover of this? this shit rules. bassline in the outro is crazy cuckoo *What It Comes Down To: such a wholesome lil love song. they really know how to lock into a groove and just let it rip *Sunshine (Go Away Today): oh this is a funky one. digging this one a lot just because it has a different vibe to a lot of the other stuff on the record, a little more experimental with the soundscape. vocal performance is out of control once again *Summer Breeze, Pts. 1 & 2: woooooooow, just absolutely gorgeous. levitating off the couch a bit. I'm not usually a guitar solo person but this one is essential to the song *The Highways of My Life: beautiful closer. the key change in the the refrain is a nice moment this album is good as hell. the quality and the craftsmanship and the talent is undeniable. I think a lot of classic albums require you to put them in context to appreciate them for what they are (i.e. "it was groundbreaking when it came out"), but this is music that's just GOOD and so much fun to listen to. it was great when they dropped it, it's great fifty years later, and it'll still be great in another fifty years when we're fighting in the water wars __ SCORE: 8/10 ADDED TO PLAYLIST: That Lady, Pts. 1 & 2, Don't Let Me Be Lonely Tonight, You Walk Your Way, Listen to the Music, What It Comes Down To, Sunshine (Go Away Today), Summer Breeze, Pts. 1 & 2, The Highways of My Life

I have never heard of this band or this album. no idea what to expect but it's 20 songs and an hour and a half long so rock opera sounds about right *Days of Graduation: extremely interested. the lyrics are evocative and compelling, they give you a character and a sense of place instantly. ominous sound. Ronnie and Neil: hate these vocals. AC/DC with strep throat. please God don't do this for the rest of the album, you will crush my hopes and dreams. I also don't know anything about Lynyrd Skynyrd so the references are all going over my head. 72 (This Highway's Mean): different vocal style. phew. the song is a nothingburger for me though Dead, Drunk and Naked: still really enjoying the songwriting and the lyricism but I just...hate how it sounds. chorus nibbles a bit though *Guitar Man Upstairs: this track is so much fun. tons of energy and the tale about a guy who is seemingly only bigoted against guitar players is hilarious. Birmingham: snoozer. zzzzzz The Southern Thing: turns out "the southern thing" is class consciousness. if that ain't what southern pride is to you you missed the fucking boat brother *Three Great Alabama Icons: based based based based based based. one thing about this album is that regardless of if I dig the music itself, I am always excited to hear what he's going to say next. "George Wallace died back in '98 and he's in hell now." "Fortunately for him, the devil is also a southerner..." *Wallace: stop! stop! he's already dead! writing a country song about a racist politician burning in hell is everything. they dragged the fuck outta him Zip City: it's whatever Moved: this one has an unique sound, all reverb-y and moody and lo-fi. the vocals are just a tough sell on almost all of these tracks. Let There Be Rock: switch out the singer and this could be a Wednesday song, specifically reminds me of Chosen to Deserve with the verses about using drugs and doing stupid shit as a teenager. good song, just not my thing Road Cases: it's fine *Women Without Whiskey: songwriting is stellar on this one, so many hard-hitting lines. "I know the bottle ain't to blame and I ain't trying to, cause it don't make you do a thing, it just lets you. And when I'm six feet underground I'll need a drink or two...and I'll miss you" OKAY Plastic Flowers on the Highway: r/fuckcars. it's fine Cassie's Brother: this is decent, I like the sound of it better than a lot of stuff on here. ooooooo that boy is funky Life in the Factory: Lynyrd Skynyrd lore dump Shut Up And Get On The Plane: "Dead is dead and it ain't no different than walking around if you ain't living. Living in fear's just another way of dying before your time." OKAY Greenville to Baton Rouge: I actually like his vocals here. jamming out like crazy towards the end. *Angels and Fuselage: amazing closer. perfect counterpart to Shut Up And Get On The Plane. your perspective can switch up real quick when you're actually face to face with your mortality. once again blown away by the lyricism, it's so...efficient? dense? it packs in so much to chew on in so few words. "Friends in the swamp, friends on the ground, friends in the trees. Angels and fuselage." I love how authentically southern this album feels, like it's clearly someone who knows the references and the nuances and the history and the culture inside and out to experiment with it in this way and to draw all of these connections. it's a far cry from the formulaic culture-war pop-country type stuff that I grew up hearing. and this dude had some shit to SAY. seriously compelling lyrics and storytelling throughout, and so many interesting ideas at play. the songwriter has a way of laying out these beautiful vignettes so effortlessly, so evocative but it rarely feels like it's trying too hard. this is a tough one to rate because I don't actually LIKE it sonically, but I'm also kind of blown away by it and I will remember this album for a very long time. they probably could've chopped a few of the more mid tracks though __ SCORE: 7/10 ADDED TO PLAYLIST: Days of Graduation, Guitar Man Upstairs, Three Great Alabama Icons, Wallace, Women Without Whiskey, Angels and Fuselage

typically not a huge fan of thrash metal but excited to hear it Wake Up Dead: this is silly to the point of camp. such a melodramatic song about cheating on your own wife The Conjuring: I always really enjoy things that are unapologetically 100% what they are, if that makes sense. this sounds like a song someone would write to make fun of this type of metal, that's charming to me Peace Sells: WHADDAYAMEAN. this would go crazy if I was 15 forty years ago Devils Island: I love that the tracks keep switching between relatively straightforward lyrics and like, Edgar Allen Poe short stories Good Mourning/Black Friday: the lyrics are funny, like a kid who plays too many violent video games Bad Omen: guitar work on this one is really cool and noodly I Ain't Superstitious: it's fine My Last Words: dig the guitars in the intro. it's neat this album is pretty much exactly what I expected. still not sold on thrash metal (it's just too goofy-sounding for me), but it was fun to listen to __ SCORE: 5.5/10 ADDED TO PLAYLIST: --

*Tiny Dancer: I've obviously heard this a million times due to being a human being on Earth. it's a classic for a reason, basically a flawless song. never noticed that it's over six minutes long before Levon: pretty sure I've heard this one before too. it's decent, a little hokey for me but that's Elton John's gig Razor Face: some of these harmonies are not quite harmonizing. love the moment when the full instrumental drops in for the chorus but the melodies throughout are pretty unmemorable *Madman Across the Water: I like that he's taking a lot of big swings on this track. some interesting sonic choices in the chorus (that massive synth-y guitar tone rules) and he's really going for it with the vocals. super theatrical Indian Sunset: cool song, cinematic storytelling. it's obviously intended to speak about the horrors of U.S. colonization but the optics on this one are a little questionable in the modern era lol. Elton John indigenous roleplay. Holiday Inn: it's good. it's more of the same *Rotten Peaches: really like that grittiness in his voice in the chorus, it's a catchy hook and everything that needs to hit hits. it's the exact same song again but it's better than some of the other times he played it on here All the Nasties: you can't tell me this isn't from a stage play. "You'd turn a full-blooded city boy into a full-blooded city man" is a hard line. wanted the second half to build to something more impressive, I like that the song had some room to breathe and grow but it never quite clicked *Goodbye: vox going crazy. beautiful little song, doesn't overstay its welcome. this album is quality but it definitely starts to feel like the same song again and again. wish it had some more diversity but it could be a positive for others; if you're really in love with that sound you're eating good. I think he leans into what he does best, he gives theatrics and dramatics and puts the piano front and center. not my personal fav but I get the hype. he should have put Tiny Dancer at the end because not one track on here can follow that __ SCORE: 6.5/10 ADDED TO PLAYLIST: Tiny Dancer, Madman Across the Water, Rotten Peaches, Goodbye

first electronic album on the list. shoutout Forever: it's okay. it sounds like the background music for an old flash game or something. I Wish I Had Duck Feet: loving these very squishy liquid-y noises at the beginning. cool but it feels like an interlude that doesn't build to anything *Sad But True: starting to click about a minute and a half in. this is funky, lots of cool rhythms overlapping. the section in the middle with vocals is whatever but it brought me back at the end. *Crash and Carry: percussion driving this one forward. realizing that I don't really know how to talk about electronic music since I'm not super familiar with it... I liked this one though Science Friction: hypnotic. it feels like all the different parts are looping but somehow nothing ever overlaps in the same way. Philosophy by Numbers: cursed super mario level. not hitting for me Kein Trink Wasser: decent background music. super impressive if he's actually playing that piano part and it isn't just a synth or something Quality Seconds: hello??? this walked so Machine Girl could run Are We Here: 15.5 minute song, locking in. lots of cool ideas, percussion is a highlight again. idk, it has a lot of time to do something really impressive but it doesn't do that much Attached: 12.5 minute song...re-locking in... this one has a more spacey psychedelic feel to it, reminds me a bit of Tipper. again, doesn't really go anywhere. __ SCORE: 6/10 ADDED TO PLAYLIST: Sad But True, Crash and Carry

EDIT: not at any point did I realize this is a cover album. brother I don't know any of these songs *Stardust: so I've never actually heard Willie Nelson and about thirty seconds in I have to admit that I was not familiar with his game. dude has a beautiful voice. this song is stunning *Georgia On My Mind: the actual sound of this album is insane, it's so warm and so lush even though the arrangements are relatively sparse. it feels like he's not even trying, just effortless *Blue Skies: can't believe this album is nearly fifty years old, it holds up amazingly well. if some indie country artist dropped this record today I wouldn't blink twice. cute song *All Of Me: love this one, charming lyrics and I dig the chord progression Unchained Melody: it's fine but it doesn't hook me immediately. sounds great though *September Song: those drums are cuntttt, so delicate but they hit crazy. the mix in general is insane, I love the tone of the piano a lot. the instrumentation feels fuller here even though it's a slower song On the Sunny Side of the Street: bass is thick. the rhythm switch-up in the chorus is sweet *Moonlight in Vermont: good song, but has the tough luck of being the third track on the album that sounds exactly like this Don't Get Around Much Anymore: it's fine *Someone To Watch Over Me: really like this one. not much to comment on that hasn't been said already, but his voice sounds especially nice here this album is like what Lou Reed thought he was doing on Transformer. it's effortless but still soulful, it has solid songwriting throughout, and it sounds absolutely incredible (probably the best *sounding* record so far). my only real criticism is that it's relatively one-note, but...it's a great note, so fair enough. I kept hoping to be surprised in some way and even though that never really happened, that's not the end of the world for an album that's this consistent straight through. __ SCORE: 8.5/10 ADDED TO PLAYLIST: Stardust, Georgia On My Mind, Blue Skies, All Of Me, September Song, Moonlight in Vermont, Someone To Watch Over Me

The Once Over Twice: cool sound, it's like blues punk *Desperate: dig it. they're desperate and I'm getting used to it. Adult Books: I love in old songs when they just start dropping random first names. not a huge fan of this track though *Universal Corner: the male/female dual vocals remind me of Dehd, especially her voice with the raspiness. this one's decent *I'm Coming Over: so they've been making punk songs that barely clear sixty seconds forever, huh? good energy It's Who You Know: just okay *In This House That I Call Home: the chorus riiiiiips. the vocals and the mix sound nice on this one too. favorite track so far Some Other Time: it's fine White Girl: it's fine. this album has a lot of mid tracks Beyond and Back: it's fine. Back 2 the Base: egg-punk-esque. "Presley sucks on doggy dicks" is a heater of line *When Our Love Passed Out On The Couch: this is a good one, I love their voices together on the chorus. when their sound works it really works * Year 1: decent closer I put down like zero thoughts on the track by track but like...it's a punk album. what you see is what you get. the record as a whole kind of sounds like shit, sometimes it works in the charming punk way but sometimes it misses hard. nothing groundbreaking but it was a fun listen __ SCORE: 6/10 ADDED TO PLAYLIST: We're Desperate, Universal Corner, I'm Coming Over, In This House That I Call Home, When Our Love Passed Out on the Couch, Year 1

*The Headmaster Ritual: love everything about this, it's so reverb heavy and spaced out. little bit gothy? *Rusholme Ruffians: really really like it. this sounds like so much music I already listen to I Want the One I Can't Have: vocals are a bit iffy at certain points but it doesn't ruin the song. I adore the way the guitars sound on this record, really easy on the ears What She Said: mix is weird on this one, the vocals are so forward you can barely hear what the instruments are doing. it sounds like an intentional choice but I don't like it personally. *That Joke Isn't Funny Anymore: the "kick em when they fall down part" goes crazy. melodramatic as hell. repetitive but it's effective, not annoying *Nowhere Fast: this song sounds sooo goooood. *Well I Wonder: most listened track on the album. seems to be for good reason, it's gorgeous and his vocals really shine here Barbarism Begins at Home: seven minute song, locking in. why is he barking??? pups against corporal punishment. no need for this to be as long as it is, there's probably four or five minutes of good song in here Meat is Murder: crazy intro, genuinely a bit unsettling. lyrics are so blunt and melodramatic that it borders parody. weird choice to throw this in at the end and then name the entire album after it but I respect a militant vegan __ SCORE: 7/10 ADDED TO PLAYLIST: The Headmaster Ritual, Rusholme Ruffians, That Joke Isn't Funny Anymore, Nowhere Fast, What I Wonder

I have seen every pretentious music bitch in the world post this album art at some point so I assume it's like a big deal or something Born Under Punches (The Heat Goes On): sploinky. I can't think of a single direct comparison for what this sounds like, really really interesting. not sure if I like it but it's worming its way into my brain the longer it goes on *Crosseyed and Painless: this one rips. dropped 45 years ago and still sounds fresh. I can hear the fingerprints of this in like every modern day British post-punk song I've ever heard *The Great Curve: they are grooving the fuck out for real. really digging how a lot of these songs aren't immediate for me, they don't start clicking until I let it ride for a bit. songs like that tend to have more longevity for me. they are still grooving the fuck out Once In A Lifetime: oh my god this is the "this is not my beautiful wife" song. and the "same as it ever was" song. single-handedly feeding the tumblr ecosystem. it's just okay though *Houses in Motion: love how restrained is is. it feels like a song you would have the instinct to go Big with but they kept it dialed back the whole way through. super funky, bassline is bananas *Seen and Not Seen: such a dope soundscape Listening Wind: I've never heard anything that sounds quite like this. I was hooked at the start but it didn't go anywhere *The Overload: glooooooomy. again doesn't go much of anywhere but it has such a cool atmosphere I didn't mind just hangin with that for six minutes cool cool stuff. it seems like an album that I'd need to run back a few times to really know how I feel about it, but I get why people hype it. this came out in 1980 and it still sounds innovative and boundary-pushing to me in 2025, that's crazy impressive. there's a couple songs on here that I think are gonna get a lot of play from me __ SCORE: 8/10 ADDED TO PLAYLIST: Crosseyed and Painless, The Great Curve, Houses in Motion, Seen and Not Seen, The Overload

*The Age of the Understatement: very theatrical in the same way the post-hardcore bands I listened to in high school were. like if The Venetia Fair were on horseback instead of at the circus. I like it *Standing Next to Me: Two Door Cinema Club x The Hoosiers. it's decent, I'm enjoying the world of the album so far *Calm Like You: really digging this one, I love how big and layered it sounds. dynamic. favorite so far *Separate and Ever Deadly: it sounds like indie rock but it has the sensibilities of prog rock. the drama of it all The Chamber: not bad. good placement for a chill song *Only the Truth: the slow build at the end goes sicko mode *My Mistakes Were Made for You: super duper cool. instrumental reminds me a lot of Candy Claws which is a massive W for me Black Plant: nothing wrong with it but I'm not as high on it as some of the other tracks *I Don't Like You Anymore: wasn't totally sold but they got me at the end *In My Room: almost every song on here uses really interesting chord progressions, and I love that I'm continually surprised by the choices made and where the song ends up. sounds like a Kiss Kiss song The Meeting Place: some kind of dissonance, the pieces aren't clicking for me. Time Has Come Again: cute. doesn't do much had low expectations for this one but liked it a lot more than I thought I would. just has a sound that really appeals to me, like the Arctic Monkeys wrote the soundtrack for a country-western stage play. I would have lost my ever-loving mind if I'd heard this when I was 15. __ SCORE: 8.5/10 ADDED TO PLAYLIST: The Age of the Understatement, Standing Next to Me, Calm Like You, Separate and Ever Deadly, Only the Truth, My Mistakes Were Made for You, I Don't Like You Anymore, In My Room

*Smack My Bitch Up: song titles to bring home to your family. never heard these guys before but this is sweet, so different from anything I've gotten on the list so far. reminds me of Celldweller or Blue Stahli *Breathe: so so so cool. feels like a precursor to Linkin Park *Diesel Power: bass is fat every song. sick twist on a boom-bap beat. blew my mind drastically fantastically *Funky Shit: boss fight music. synth sounds like that tube toy that you turn upside down Serial Thrilla: it feels like all the different elements should clash but it just works somehow. maybe it works because it all clashes. a bit repetitive though *Mindfields: that first break when the bass drops in goes crazy. still goes a little sick in the head the second time. BEST shot *Narayan: 9 minute song, locking in. The Mars Volta ass vocals. that chorus is gonna be stuck in my head for days Firestarter: came in so much more British than I was expecting. vocals kinda kill this one for me *Climbatize: like this one *Fuel My Fire: like this one too. it's lowkey bad but good bad. the "you liaaaaaaaar WEEooWEEooWEEooWEEoo" part eats and licks the plate clean sounds like so many things I've heard but also nothing I've heard at all. big fan of this album __ SCORE: 8/10 ADDED TO PLAYLIST: Smack My Bitch Up, Breathe, Diesel Power, Funky Shit, Mindfields, Narayan, Climbatize, Fuel My Fire

never heard this album but Take Me Out is a banger so I'm hoping the rest of the record has good things to offer *Jacqueline: the pathways of my mind are built for post-2000 indie rock. it's good soup. Tell Her Tonight: little bit of Modest Mouse, little bit of Crack Cloud. love the manic angular energy in the verses but the chorus is mid. rockstars love to write songs about cheating on their girlfriends *Take Me Out: me when I say don't you know and you say you don't know The Dark of the Matinee: this sounds goofy. also kinda gives me anxiety. it's not quite circus music but I feel like the dude is twirling his moustache while singing it Auf Achse: sounds a bit like Mew if they weren't good. I can't pinpoint why it isn't working but I find it kind of boring Cheating on You: MULTIPLE songs about cheating on your girlfriend on the same album is criminal. "I'm cheating on you, yeah!" (x3) This Fire: again, on paper this song is something I should really like but it's just not hitting. *Darts of Pleasure: groovy, love the guitar riff during the verses. catchy hook too Michael: passable *Come on Home: really like this one, it has a fun sound to it. I'm sure other tracks on here had synths in them but this is the first one where I paid attention to them, they sound like a cheap Halloween costume (complimentary) 40': what the hell this is so dope?? more interesting than half the album combined the middle of this album is a slog but there's a few gems on here that make it worth a spin. I'm biased towards this kind of music so I should honestly like it more than I do, but it's a solid record. __ SCORE: 7/10 ADDED TO PLAYLIST: Jacqueline, Take Me Out, Darts of Pleasure, Come on Home, 40'

Rednecks: the way I RAN to the spotify artist profile to see this dude's picture. it's giving Quentin Tarantino writing himself into his films as Guy Who Says Slurs #1. seems like he's trying to be based but I think he disqualified himself in the process Birmingham: he sounds like the dude from the Toy Story song but like...to the degree that I think it might actually be him. (IT IS LOL) Marie: absolutely precious. weirdly reminds me of For Ella by Friko, something in the melody clicks the same way Mr. President (Have Pity on the Working Man): we're desperate!!! get used to it!!! Guilty: genuinely so whatever. this guy is clearly talented but I'm finding the album completely uninteresting so far. Louisiana 1927: I haven't felt surprised by anything on here since the hard-r jumpscare. maybe he should just say it again Every Man a King: this is the shit that plays out of that music box in Shrek Kingfish: more of the same Naked Man: one thing I respect is the song lengths. they get in and get out, the longest tracks on here barely clear three minutes so even when I think they're mid they don't overstay their welcome. A Wedding in Cherokee County: I played this for my crazy midget whore bitch who always laughs at my dick and she thought it was really romantic Back on my Feet Again: eh Rollin': best song on the album not a single bad song on here but there's not a great one either, it's all middle of the road and inoffensive (in some senses of the word). it's just...music. does what you expect and does it with competency, but I doubt it's ever getting a second spin. __ SCORE: 5/10 ADDED TO PLAYLIST: --

*Dumb Waiters: new wave-y but strangely shoegaze-y. the vocals are kinda killing it for me but the overall sound is so interesting *Pretty in Pink: has the structure of a pop song but the texture is so distorted and moody. it's a cool contrast, reminds me a bit of Sorry in that way although they obviously sound quite different *I Wanna Sleep With You: that riff goes stupid, really like the tone. the dissonance between everything makes it more compelling No Tears: it's alright. this track would blend in seamlessly on Marquee Moon Mr. Jones: like it but don't love it Into You Like a Train: it's like a mix between Talking Heads and Cocteau Twins, really fascinating sonically even though the hook doesn't hook me It Goes On: instrumental is dope, especially the break in the middle where it builds to that big moment, but the vocal melody is sooo dull and repetitive *So Run Down: guitar tones are out of control on this whole record. this one's a vibe, into it All of This and Nothing: I want to like this so bad but I just keep getting stuck on the vocals. the frontman sounds like an 83 year old guy that couldn't even sing at 20 She Is Mine: filler for a closer is crazy god, I wish these old rock bands weren't allergic to having vocalists that can sing. starts out strong and proceeds to be less and less remarkable as it goes. absolutely adore the sound of it, so many interesting textures and tones throughout, but the vocals don't bring much to the table and there aren't enough hooks or melodies to make it still stick in spite of that __ SCORE: 5/10 ADDED TO PLAYLIST: Dumb Waiters, Pretty in Pink, I Wanna Sleep With You, So Run Down

I hope I like this record purely because the name is funny Across the Great Divide: not bad for what it is but I don't find it interesting personally *Rag Mama Rag: bluesy and catchy. dude's going nuts on the keys The Night They Drove Old Dixie Down: by far the most listened song on here but I think it's kind of mid. his voice doesn't sound as nice here, it's a little Kermit-y. is it a different vocalist? When You Awake: it's okay Up on Cripple Creek: classic country with a funky lil bassline and a smidge of Elton John. it's not bad. *Whispering Pines: beautiful track, just moseys along. it's a cool blend of sounds, the electric keyboard(?) fills out the background nicely when it comes in. Jemima Surrender: objectively a good song, it's just not my thing Rockin' Chair: not bad Look Out Cleveland: it's not bad *Jawbone: I like the lo-fi vocals in the chorus. nothing mindblowing but this one has a lot of character *The Unfaithful Servant: the drums dragging a bit make the song feel like it's barely holding itself together. cool vibe, vocals are nibbling *King Harvest (Has Surely Come): that electric keyboard is the star of this album for real "we have Creedence Clearwater Revival at home." it's not a bad album but it's really just not the type of thing I'd put on or come back to regularly. the back half of the record is actually better even though it seems like the hits are all front-loaded __ SCORE: 6/10 ADDED TO PLAYLIST: Rag Mama Rag, Whispering Pines, Jawbone, The Unfaithful Servant, King Harvest (Has Surely Come)

*Dealer: absolutely crazy singing voice. it's dope though, reminds me of the dude from YHWH Nailgun. smooth and psychedelic One World: title track. like a professional singer doing drunk karaoke. not mad at it Smiling Stranger: it's an interesting little diddy but the entire song feels like a build-up and the payoff never comes *Big Muff: your mom. groove in the chorus is out of control. song actually has a lot of energy for how restrained it stays. great vocals, love that blown-out reverb Couldn't Love You More: it's cute. the refrain got a little grating by the end Certain Surprise: zon't zew it. zon't...zon't zew it... Dancing: it's fine Small Hours: 9 minute song, locking in. beautiful guitar effects at the start. I guess not just the start, it's still happening. most unjustified guitar solo of all time. it's not bad but I wish the instrumentation were fuller or that the song went somewhere, something to justify not only being nine minutes long but also the closer. it should feel special but it feels sparse cool album with some cool experimentation. a lot of it doesn't quite land, but at least it all sounds great. I wish the songs were more fleshed out? not sure if that's the right way to describe it, but some of the tracks feel like one idea getting milked for all it's worth instead of being expanded upon. __ SCORE: 6/10 ADDED TO PLAYLIST: Dealer, Big Muff