5 fácil. O álbum é super bem produzido, vocais do Liam são como esperados então nesse ponto né nenhuma surpresa. Os solos de algumas faixas são absolutamente satisfatórios.
Lord, this album is so opulently rich and fun! From the grandiose Seaside Rendezvous to having '39, I'm In Love With My Car, AND Bohemian Rhapsody, this damn album work so well. Then comes the 8 minute The Prophet's Song transitioning to Love of my Life it's a feeling.
Being honest, this was my first time hearing Beck. As a Brazilian and huge MPB fan, I was surprised and impressed by "Missing." I could immediately tell by the instrumental, it's my personal favorite on this work, alongside Broken Drum. That one hit me, the longing and sadness mixed with the rage of the guitar is absolutely perfect.
Scarecrowcould easily be part of a soundtrack. It reminds me of those intense moments when a character is on rush. The same goes for Go It Alone (you can really feel Jack White's contribution here). The sound is quite dirty, but it matches the general idea of the album.
In general,it's a decent album, but I might say it's not for every mood or taste. I can see myself revisiting it in the right moment. I felt more connected to the production and atmosphere than to the lyrics themselves. Not my favorite, but not bad at all.
I love 80s synth, so it was a vibe. In general, I could describe the sound as Kate Bush meets The Police in a giallo book in the middle of space. Morten Harket's voice is absolutely incredible. The higher notes are so satisfying in a song like Living a Boy's Adventure Tale.
Not revolutionary, but it's pretty good. All together, it's a really solid, atmospheric piece of its time.
I personally will revisit it again
Songs in the Key of Life, what can I say without being too biased? I used to hear this album on my way to my previous job, the instrumentals with headphones are so immersive.
People usually talk a lot about his artistry as a singer and pianist, but this album is a solid reminder of his phenomenal skills as a songwriter.
I remember I started listening because I loved Isn't She Lovely (an absolute classic), and ended up discovering an album where it's hard to pick a single favorite track. For highlights this time, I'd choose Village Ghetto Land (lyrically), I Wish, and Saturn.
Now I get why Bob Dylan's name is on the cover. Jeez, he was an absolute influence. Listening to this just reminds you how so many of those massive '60s rockstars were basically just blues fans with louder amps. You can hear it in the storytelling bones of every track.
It’s interesting that the most famous track, Sympathy for the Devil, doesn’t really encapsulate the general mood of the album at all. For instance, in Street Fighting Man, I felt a certain Beatles influence, mostly from the Revolver era... But I could be wrong.
Not my favourite Stones album, but a decent one. Great songwriting and consistent themes.
I discovered 2026 will be the 100th year of Miles Davis's birth what perfect timing.
I first knew him from My Funny Valentine. Hearing a full jazz album like Birth of the Cool is a moment where your thoughts can flow with the rhythm. It's the perfect music to simply enjoy. It leaves space for appreciation without overwhelming you. Pure emotion!
I can't describe it technically, but the slow sound from Moon Dreams into Venus de Milo was so good… and the vocals in the last song… an incredible way to close.
She's a great singer, the themes are universal and none of it moves me. Not because I'm "not the target" ,I'm exactly the target. I'm close to the age she was.
The singles are undeniable. Rolling in the Deep, Someone Like You, Set Fire to the Rain, these are events. They're the reason she became Adele. But outside of those three? It's wallpaper. Beautiful, well sung, Grammy winning wallpaper.
Here's the thing about relatable music, it often forgets to be specific. Adele sings about feelings everyone has had. And that's fine. But the best art or the stuff that lasts, sings about feelings only you could have had, and somehow makes them feel universal.
21 is a good album. It's well made, well sung, well received. But it's safe. It's the musical equivalent of a cashmere sweater, comfortable, warm, expensive, and completely unthreatening. There's no risk here. No moment where you think, I can't believe she went there. Because she never goes there. She keep beautifully in the space where everyone has been. And that's fine. But let's stop pretending it's more than it is. It's not raw. It's not dangerous. It's not hungry. It's a very good album by a very talented woman who learned exactly what worked and never deviated from it.
Good? Yes. Essential? No.
Listening to it instantly takes me back to that era. Artists like Fleetwood Mac. The Vocals are warm and pleasing. Nothing flashy, but perfectly suited. Harmonies hit in all the right places reminds me of the Beach Boys at times.
I love the production choices. Early in the Morning pairs a chill instrumental with medium-to-higher vocals. The Moonbeam Song goes softer. Sometimes the lyrics blend so deep into the production they almost drown not in a bad way, just becoming part of the whole texture.
This is the kind of album that reveals itself over multiple listens. Without You is my favourite track, even though I kept hearing Mariah the whole time.
He opens by asking if he can stay awhile inviting the listeners to hear his thoughts. What follows is a meditation from someone observing himself, trying to put feelings out into the world. The energy shifts effortlessly between tender and soaring, intimate and anthemic. It moves like a real emotional journey does quiet then bursting. And beneath it all? Yearning. Beautiful, welcome, universal yearning. The word that has always defined this album is Capolavoro.
Sou absolutamente apaixonada por esse álbum. Como brasileira, em algum momento me deparei com Garota de Ipanema e, de coração, ouvi esse trabalho que apresenta ao mundo a irmã (high society) do samba.
Mesmo preferindo as narrativas do samba tradicional, vejo essa fusão com o jazz de forma positiva. É bonito. É uma vertente que trouxe ótimos compositores e intérpretes ao nosso conhecimento João, Tom e seus contemporâneos e tantos outros que se tornaram grandes nomes do país. Pode não ser meu álbum favorito do gênero (Elis e Tom 👀), mas guardo comigo sua importância. É daqueles discos que a gente não só ama, mas respeita.
Look, Adele's vocal ability is beyond question. She has one of the great voices of her generation. But the music it serves? I've never been able to connect with it.
With all due respect, 25 felt like 21, but part II, the same core concept (heartbreak, reflection, moving on), just polished to a higher sheen. It's very common human emotions, sung by a magnificent voice, but I struggle to see the artistic evolution. I'm left with a recurring question, aside from being a supremely gifted vocalist, what makes this an Adele album? What is her artistic signature? If you took her voice off these tracks, what's to stop them being recorded by anyone else? (Nothing).
All I Ask is the undeniable highlight. And it's telling that it takes a co-writer like Bruno Mars to inject that level of drama and structure. It feels like an outside vision finally matching her vocal power.
What I don't hear in her work is rage. Or hunger. The sense of an artist with something to prove, pushing against expectations. Commit fully to a vision. If she don't have one, find a collaborator who can help you build it. Don't settle for this level of polished mediocrity. Because true greatness demands you give it everything you have.
And that brings me to the Grammys. 25 won Album of the Year. Over Lemonade. You may not be a Beyoncé fan, but you cannot deny she took similar theme, infidelity and forgiveness and transform into something sonically new. She took a risk. Adele won with... the piano ballad album. Again.
Isn't it wild she used to be compared to Amy Winehouse? Beyond the British passport and a vague jazz inflection, the comparison falls apart. Amy wrote from addiction, from a love so consuming it destroyed her. Her music is a scar. Adele writes from feelings that are sanitised. There's value in that relatability. But it's not the same artistic weight. It's not Back to Black. It's albums so meticulously safe they feel like they could be sung by anyone.
We know, she'll keep winning Grammys for albums that sound magnificent in the moment and dissolve from cultural memory the next.
But damn. What if she stopped playing it safe?
Very unimpressed. This is an album that mistakes aggression for depth, and length for ambition.
The riffs are there. The anger is there. But the creativity? The dynamics? The willingness to take you somewhere instead of just pummeling you? Missing. For a fan of long, adventurous tracks, this isn't adventurous. It's repetitive. It's exhausting. And it's not nearly as smart as it thinks it is.
The bass is invisible. Drums sound like typewriters. Guitars just chug the same riff for an hour, shifting tempo occasionally and calling it progress. Vocals? Zero dynamics. Just the same shout from start to finish. Lyrics try to be deep about corruption, injustice, the system, but they're buried under music that never earns its length.
It's like listening to that colleague who thinks his opinions are revolutionary. You know the one. He's so smart, so groundbreaking. Until you actually hear him speak and realize he's just another guy who doesn't understand that the problem is structural, that it needs to be cut at the root. And for that, you'd need to be brave enough to ditch the same tired "let's pretend to hate the system" phrases. But he's not a political person. He just plays one on coffee breaks. Even a jazz singer takes bigger swings, with better lyrics, vocals, and production.
For an album this long, there's shockingly little imagination. One is the only track with real melody. And even that's not groundbreaking.
1/5. And that's being polite.
