what an awful way to start this challenge, this shit sucked LMAO
Apparently even the most pure, non-distilled indie rock still amounts to nothing but extremely simplistic riffs, irritating vocals that would sound better screamed, and Lars Ulrich level drumming (at least to me). This is so annoying that the genuine bangers (Fell In Love With A Girl, The Same Boy You’ve Always Known, We’re Going To Be Friends) are extremely jarring and don’t fit the vibe of the album at all. Almost all of these songs feel like they were made in an hour, and the ones that aren’t actively obnoxious are just absolutely nothing. Skip this and listen to literally any rock from the 70’s, it’s what they shamelessly stole from anyway
super fun!! i was OBSESSED with Come Out and Play a couple years ago when I was first getting into punk, and it holds up alright! lots of bright, energetic riffs and standout lyrics here, even if some of the tracks kinda congeal into each other (istg this whole album is in one key). probably some of the best music that pop punk has to offer, even if that bar is fifty feet underground. also the intro/outro narration is STUPID cute I wish more albums did this
The first country album I’ve sat all the way through, and unsuprisingly also the first I’ve ever enjoyed. Every song here employs a similar structure, and it can get a little repetitive, but Robbins’ soulful crooning is ABSOLUTELY what makes this album. What a joy it is to hear him belt out these tragic tales of life in the Southwest, closing your eyes and letting the stories envelop you. I might not return to this for some time, but I cannot deny that the storytelling on display here is some of the best I’ve ever heard in an album.
also big iron is overrated asf; master’s call, el paso, running gun, and hanging tree highkey sweep the floor with it
the first album I knew no songs from going forward!! as a massive fan of instrumental hip hop and trip-hop adjacent stuff like J Dilla, DJ Shadow, and Sneaker Pimps, it is super cool to see where the subgenre got its start. the whole album is verrryyyy chill and downtempo, mostly featuring clicky drums, gentle synths + keys, string samples, hushed rapping, and 80’s-esque pop singing, layered in fairly effective, soothing ways. not crazy interesting, but i can see myself putting this on to study to. also its STUPID influential and directly inspired much of my all-time favorites so it would be a crime not to give it props
ehhhhhh. there’s nothing technically wrong with this, but jesus is it a slog. old british pop rock just really isn’t my thing, and the random hollering, squeaky horns, and chunky, repetitive piano solos (plus the annoying habit of songs ending and then starting again MULTIPLE times) made sure i was constantly checking how long was left the entire time. 2 stars because Come On Eileen is unfortunately still a banger
obviously I have to give this props (it is THE gothic rock/post punk album, after all). HOWEVER
it’s just okay. The moody, echoey atmosphere is unsurprisingly great and I can hear a lot of this album in later favorites of mine, but there’s a few too many empty stretches of repetitive basslines and extremely simple drum patterns to warrant listening to this full album again. one of the many albums I respect more than I actually like.
went into this really wanting to hate it but it’s fine?? a very weird mix of perfectly okay peppy 80’s pop and absolutely atrocious “white reggae” (UUUUUGGGGGHHHHHH) but the good tracks outweigh the stinkers in my opinion. had my head bobbing occasionally, it’s not bad i guess
yeah no shit this album is good. part of me wants to give this a bad review so i can be unique and contrarian, but unfortunately it’s so highly regarded for a reason. maybe not as raw as i would have liked, but the emotion on display here is obviously second to none. haha baby weenor
did not know anything from this except the funny shrek 2 song going in. having listened to it, it’s still the only one I remember :/
not actively bad but sooooo forgettable I almost wish it was. what a waste of 40 minutes. also holy shit that has to be bottom 5 album covers of all time who the fuck drew that
fun!! classic fuzzy grunge that’s a bit on the grittier side, which is exactly what i want from something like this. extremely ahead of its time for 1988, nothing to complain about here
my first full queen album after a life of only knowing their biggest hits, and unfortunately this shit rocks :(
this album has fantastic audio mixing throughout, is consistently energetic and exciting without ever being cacophonous, avoids all the glam metal cliches I was scared of running into, and features no shortage of beautiful Freddie Mercury vocals. their other albums are gonna have to do some crazy shit to top this
very good!! maybe gets a little slow and monotonous at times, hence the missing star, but individually almost all of these tracks are fantastically floaty and ethereal. morrissey why must you be such a dickhead
this should probably be considered the gold standard for contemporary country music. the beautiful vocals make it a very relaxing, soft listen, and the occasional bouts of accordion and harmonica help add that authentic, non-corporate country flavor. that being said, very few of the individual tracks stand out, and they all kinda flow together. a good time, but not a super memorable one.
very punchy and bouncy, but kinda loses steam towards the end. still a solid listen (even if just for the piano basslines and crazy David Byrne noises) and a pretty good start to the Head’s iconic sound, all things considered.
a little too acoustic and ballad-y for my taste, but there are still standouts once more instruments get involved. there’s a reason why life on mars is so revered, after all, but the songs surrounding it kinda pale in comparison.
ehhhhh? if you had to have scissor sisters here idk why you wouldn’t just pick the album with their two big hits instead of this one, especially considering none of these tracks ever reach the highs of I Don’t Feel Like Dancing. that being said, it’s okay, and definitely tolerable when compared to a lot of this chronically online theater kid shit (namely tally hall and will wood UGGHHHHHHH) but it didn’t leave much of an impression on me.
was not expecting to like this at all as someone who doesn’t ever listen singer-songwriter junk, but this album is actually extremely pretty. the floaty, soft vocals somehow never become grating, and the album is by far at its best when the “cabaret” flavors are allowed to be more prominent (e.g. the accordion in Miss Chatelaine). as a matter of fact, that’s one of my only complaints with this album; the basic ballad stuff is fine, but I wish the more unique instruments were featured more. pretty good overall though
Favorite tracks: Miss Chatelaine, Wash Me Clean
man what a disappointment this one was. i’ve heard great things about Bossanova for a while now, and it starts off promising with the first couple tracks, but almost immediately it devolves into an irritating soup of never ending, constantly repeating “hooks” that somehow aren’t even catchy. the lyrics are also consistently terrible, which isn’t always a dealbreaker, but the delivery is so annoying that it becomes the final nail in the coffin. not the worst thing i’ve ever heard, but not one i’m ever going to revisit either.
Favorite tracks: Cecelia Ann
i don’t typically gaf about classic rock and its imitators, but the synthy stuff definitely elevates what would otherwise be very middle of the road riffs. not too much to say here, maybe a little overlong but it’s a fun, easy listen.
Favorite tracks: Sharp Dressed Man, I Got The Six
channel orange is fantastic; the peak of smooth, poppy, modern R&B. ocean’s vocals especially elevate this album from just hooky and fun to genuinely beautiful at points. constantly had my head bobbing, this is some good shit
Favorite tracks: Super Rich Kids, Pyramids, Thinkin Bout You, Crack Rock, Pink Matter
