the opening of immigrant song with the, like, george of the jungle howl is pretty good. no thoughts on friends. no thoughts on celebration day. no thoughts on since i've been loving you. no thoughts on out on the tiles. gallows pole has a great rhythm to it. tangerine is the catchiest of the bunch so far but it's kind of a low bar for catchiness (i do not think they are going for "catchy" at all). that's the way has better vocals than the rest, it's sort of ballady, and i think i like that more than the, i don't know, airy/atmospheric vocals of the rest of the album. the opening of bron-y-aur stomp sounds kind of like, banjo-ey and that's pretty dancey but it literally turns into stomp clap which i have been informed via osmosis is cringe. hats off to (roy) harper sounds like someone just found out about knobs and is playing a tape while cranking those knobs all over the place like a child, genuinely stupid song
tangerine > bron-y-aur stomp > i guess immigrant song for the cool yelling melody thing and the rest is kind of whatever
crazy good opening track. sort of a combo between ennio morricone and justice. this is exactly the kind of thing i was hoping for when starting this. the latter parts trailed off a little bit but the general vibe is so magnificent i can't fault it for that really. immediately went back to listen to the start of it after finishing it. i think my appreciation for this kind of thing comes from hearing so much motown growing up. had never heard the name isaac hayes before this but i sure hope i remember it
recognized Yellow from hearing it on the radio, but that's about the only feeling i had during this. pretty bland overall. it has the trappings of being emotional but nothing about the music conveys emotion, so it just comes off as hollow
clearly a talented singer, and great poetry, but not really doing enough musically for me. feels like a lot of default choices
they're having a great time on this. really get the sense they're doing their favorite thing in the world which helps sell the enjoyment i get out of this more than other classic-ish rock records.
pretty okay. i can imagine having a great time dancing to this in a party setting but it seems more functional than anything
pretty good music to relax to. mission venice was probably the catchiest track.
pretty good, but so short! makes total sense how much this busted through norms, sounds really good even today
from the cover i was expecting this to be obnoxious hair metal, but then when dancing in the moonlight came on and they were thanking their saxophone player, i realized i had them totally wrong. and then the boys are back in town came up and i was like ohhhh it's those guys! really fun time on this one
pretty good variety here. break on through is good of course. alabama song is really goofy, it's like honky tonk or something. the end is just indulgent
did a double take at the line "let's get arrested, wanna be molested? who cares how old you are?" and i'm afraid that's gonna cost peter a star. but the cool talkbox tech gets another star back to make him completely average
really fun instrumentation, but over half the album is the aimless final track of noodling. not actively bad to listen to or anything but it feels like they kind of gave up and just improvised most of it. probably really sick if you're high in the 70s
surprising and impressive! one of the issues i've had with classic rock is that songs are all the same intensity. this feels like each song as a specific idea and it's walking you through all the points of the idea. this culminates in imo the best song on the album, fistful of love, which starts softly and understated and builds piece by piece up to a shouting crescendo by the end. it always feels like something new is happening
great time all around. really catchy songs that are cringe in a satisfying delightful way
rare album where i started it over right after finishing. every song is unique and kept my attention almost the whole time. hard to pick a favorite since they're all so great
really catchy and would be happy to listen to this pretty much any time. that said, it doesn't really evoke any moods besides aimlessly upbeat
like this better than lz3 which is in some ways kinda disappointing. pretty bland
kinda wild honestly. i have no idea what this even is. some of it sounds like jazz, some of it sounds like silent hill, huge fan of the variety here. i read that he made this album with the concept of "the soundtrack for a movie that doesn't exist" and it came out really great, all kinds of moods. didn't know they had this kind of innovation in 1996
really nice vocal-forward tracks on this, and there's a huge variety of instrumentation. i was expecting mostly guitars again but there's a lot of nice piano and stuff too
really pleasant listen. pretty good instrumentation although it never really rose above the level of pleasant
really liked how much this sounds like motown classics
good jazzy sound on this. i'm a sucker for gang vocals too and they're all over this one
this is a little too heavy on the screaming and a little too light on the fun rhythmic stuff i want from them
lots of recognizable stuff on here. pretty fun time all around
really good! so much energy in all of these, especially killing in the name of. hard to not get swept up with it
this is great. every track feels like a different idea and it feels ethereal and meaningful
this has a bunch of nice jazzy stuff on it. i'm inclined to like it just because my friends seem really into it but even without that, the first song alone made me curious enough to go see how these guys were classified. haven't heard anything quite like it and novelty counts for something
i had forgotten how much fun this album was. i went into this totally expecting to be rolling my eyes, but no man, they had it back then. especially loved the outro skit with ben stiller making fun of them. i remember the early 00s and how delicate one's persona was and it's actually super confident to put that kind of thing on there. really fun time
i can see how this is for someone but it's not for me. and the final track being random looping beeps felt very stupid. but i will say there's a ton of variety here, every song has its own vibe, which makes it all feel like it's a bit scattered and lacking cohesion as a musical idea
really fun album. i can see how this really laid the foundation for rhythmic rock that came later
usually enjoy post-hardcore but i'm afraid there's just not any juice here. the song titles and the tone all reflect that they quite deeply want to be Saying Something but i can't feel any of it, it's over my head or not there
i liked playing these guys on rock band, i can respect the musicianship here, but 28 songs is way too much for an album and they don't earn that length at all. white noise muzak
wow it's the jojo meme song. and the rest of the album is pretty good too. it's not exactly my area but it's a great deal better than most rock
It's fine. Perfectly pleasant to listen to but doesn't really reach out and grab me.
honestly this is way goofier than i expected. the smiths are talked about in a kind of reverent tone a lot, i was expecting some soft emotional guitar or something. and there's some of that. but i was not expecting a singsongy bit about "mr shankly". maybe the lyrics actually mean something deep but i was pretty surprised by it
pretty good! all over the map here and constantly feels like they're having fun making it. surprisingly danceable too
tremendous album honestly. cannot believe this is 30 years old. takes all the best parts of detroit techno and lightens the monotony by a lot, with surprising bursts of vocals coming out. just really good vibes. feels like it's crossing every genre
really good stuff. i had no idea all these names i recognized were in one big group at one point, feels like learning about a cultural pillar that influenced a ton of stuff since i kept recognizing traits of other works in this one
honestly this is as good as classic rock gets. i used to have adults put on classic rock around me as a kid all the time, and this gives me a nostalgic feeling of a moment of "oh it's rock again..." followed by "oh wait this is the good kind!". it's all just really upbeat and melodic in a way that a lot of stuff of the era isn't. really into it
wild wild west *and* gangsta's paradise came from here? this has gotta be the blueprint for hundreds of good songs. ridiculously fun to listen to and the goal that all music should aspire to
it's pretty wild how modern this sounds. if you told me this was like a 2014 indie release i'd believe you. really like the guy's voice and how strong the lyrics come through, and how they're usually pretty singsongy and attention-grabbing. not every song was my taste but a surprising amount of them were
pretty good! a lot of unique songs on here across a pretty wide range of genres
Pretty good. Interesting little skit(?) thing in the middle with the mercedes song, but no strong feelings either way with this.
Decent variety but nothing here is particularly moving.
No particularly compelling substance here, feels meandering and dull.
pretty navel-gazey kind of pretentious stuff but lucky for me i love that kind of thing. the choir sounds great too. really good at making songs sound like big events
i have no idea why i don't like this kind of pretention when i like other stuff. maybe saying "invented by advertising executives" in song lyrics was a revelatory edgy thing in 1991 but hearing it now just feels like it's trying way, way too hard with zero nuance
just kind of fine. obviously a decently fun time. hey this guy hid his toes on the album art that's kinda funny. anyway this would probably be a blast to listen to on a dance floor or something but just listening in isolation it's just kind of repetitive
Totally fine but without standing out. No real oomph to any of the sounds. Probably good if you're old enough to be nostalgic for it, though.
Pretty decent. It has a kind of punk-ish sound to it but it's so low-energy that it's hard to think of it in the same category.
Super smooth and pleasant. Sounds a little bit like waiting room music but that's speaking highly of waiting rooms more than badly about the music.
Usually a huge motown fan but this album is sadly a miss for me. A missed motown is just average, but still! This has some of the great harmonizing I like but is just missing some of the energy
Really good vibes on this. I'm also pretty surprised it's 1989, since I feel like Kravitz was a huge name throughout the 90s. He already had the basic blueprint before that window! A delight to listen to.
Pretty catchy! I might have expected more from this because of how well known The Strokes are, but it was only alright. I think the later stuff is probably more my speed.
Not particularly interesting. Pretty repetitive and dull lyrics without much musical quality at all.
Not too bad to listen to, but no real movement. Pretty sounds without inspiring much feeling.
I had no clue how much I was going to love this. The opening track is a great wave of feelings washing over me and the second song is catchy. There's something magical about this combination of catchy simple melodies and the textured wall of sound behind it. It kept feeling like a song that was right on the tip of my tongue but I couldn't quite place.
This is pretty good. Tons of good beats and politics here, I especially like Turn The Radio Off and A Gangsta's Fairytale. I have some problems with Man's World, like I know he's playing a misogynist character but the in-fiction argument doesn't exactly resolve how I would have done it. Still, a delight to listen to for most of the album.
A lot better than the band name would suggest! Somehow maintains a lot of strong melodic lines even among their rock peers, and super memorable ones at that.
Pretty good but it's so familiar at this point it's hard to even evaluate it. It doesn't stick out to me as strongly as I feel like it should, but it feels like sacrilege to rate it average. That's all I've got, though.
Honestly just sounds like punk music from before they really cracked the code on how to make it sound exciting. Or at least, make it sound exciting to me.
This feels like music that is absolutely glued to a certain mood, or a vibe or situation or something. Listening to it in isolation honestly doesn't do much for me, but hearing it alongside a great movie scene, or even a live show, would probably feel pretty incredible.
I was looking forward to this since the Grateful Dead has a huge reputation, with a huge audience even today. I was pretty disappointed! It hardly even sounds like music. It's fairly sparse fragments of songs. I feel that the megafans of this are bringing a lot of their own stuff to the table here and seeing a reflection here. I don't get a sense of feeling or skill behind this.
So much of this is super heavy-handed, way moreso than I remembered from when I first heard it as a teen. I suppose that makes sense though, for a couple of reasons. First, the post-9/11 era caused everyone everywhere to become pretty stupid, and it really was that ridiculous. Second, I was a teen in the target audience, I highly doubt I would have picked up on any kind of subtlety, especially in music where I wasn't particularly looking for it. Still, it's good for what it is.
Pretty tedious honestly. Same topics and same riffs as every other guitar-centric rock band of the era. Nothing that particularly grabbed my attention.
They were really cranking these out in the 70s huh? Sounds like replacement-level rock. Towards the end of the album it went in a strange direction with some beatles-y stuff, with a violin in there? It was better than the rest of the album but too little too late.
A lot more free-flowing than other 70s rock. I like the variety in instruments and tempo. Not too inspiring but not bad to listen to either.
Must have been really exciting in the 70s! A little reductive for me now, though. Suffers from being too influential; everything sounds like this now, and therefore the trailblazers sound generic. Really too bad.
I've found that I'm a sucker for albums that start with an explicit intro track with a skit or a short musical idea in there. That Thing is pretty conservative in rhetoric but the rhymes are incredible still. With "To Zion" and calling NJ "New Jerusalem" I had to look up her politics, and she bailed on an Israel show which is pretty cool. Breath of fresh air after hearing lots of 70s rock.
I really want to like this because it has such an iconic status. I can only assume that there is some nostalgia factor coming into this. The music itself, and the performances, are totally fine but they are about as musically interesting as I'd expect from a local band in a bar. Obviously I'm on an island here, they didn't get big on accident! Whatever is so amazing to everyone here though is passing me by.
Sounds like an old version of what seemed futuristic. Certainly nothing like other 70s music, though it sounds pretty ordinary now.
They were doing incredible stuff back then. Somehow this sounds like rock music made for a musical, which is a perfect strike zone for me. Vocal-forward and melodic instead of trying to overwhelm with a wall of sound. That said, looking at the actual plot of the album, I'm not wild about it. Most of the songs seem to be the protagonist encountering disconnected, nonsequitur hallucinations, which is kind of a copout to the idea of a concept album. They also apparently thought that the songs alone weren't enough to convey the meaning, so they wrote out the whole plot on the album sleeve. Have some confidence guys! Still, musically it's fantastic, and that's what matters to me most.
I like the rhythmic, almost disco-y place it goes towards the end. I can tell it's great at what it's doing, but it's shooting at a target that is a little bit distant from me. Still not bad to listen to.
I like the energy here. Most live albums have a lot of crowd noise but this one feels like you're hanging out in a room with the band, which is way preferable for this kind of music. Gives me a great deal of energy. Lots of good lyricism and good to dance to.
Perfectly pleasant but all pretty one-note. I appreciate the lyrics but nothing here is really grabbing me. Feels somewhat by-the-numbers.
Really like the soundscapes here. It's so rare to hear string backing with vocals in a way that's not just using the strings for elevated vibes. A little repetitive near the end but ultimately a great listen.
I got this album the day after Dolly Parton passed away, which presumably is someone's thumb on a scale as a memorial. I think Dolly seems like a wonderful person, but this album was only okay to me, I'm afraid to say. It's perfectly pleasant but nothing in particular is jumping out here.
This simply isn't my thing I'm afraid. I appreciate that they're doing something a little different but I find the unique aspects grating. I can perfectly imagine someone who is into this but that person is sadly not me.
Just way too sing-songy and bland for me. The title track has totally permeated culture of course, so it just sounds like background music to me now, and the rest of the album sounds the same but without any of the cultural weight. A total miss for my tastes.
Rare album that is actively irritating to listen to. I have to imagine this is for someone but it is strangely repulsive to me. Just sounds like shouting and noise, and I usually like queer people making shouting-and-noise music! Wish I liked this one more.
Nothing too inspiring here. They have some energy and it's probably a great live show, but it's not doing anything I haven't heard a million times before.
Truly the best era of pop music. Probably because I grew up in this soup, and I have an affinity for dance music in general, this is ambrosia to me. Also shoutout to soda pop for being in the pokemon movie! I will say it is super weird seeing this as an adult with all of the high school imagery, so I can't give it 5 stars, but it's still ridiculously catchy.
Really lively. Lots of variety to each song here, some of it sounding more operatic or musical-ish and some of it sounding straight-up pop. Not all bangers but no misses at all.
Pretty good, pleasant to listen to, but not entirely moving. Sounds surprisingly modern, and is way better than a lot of the guitar music going on in the 70s. Respectable effort.
Liked this quite a bit! He has a great way of making every song catchy and fun. I especially liked Hypocritical Kiss where he seems to complain about his social circle and fake friends or something? Laughed when I heard it. Really fun
Decent melodies and pleasant tunes, but I kind of went into this with the ambient idea that everyone hates this guy now. As I listened to the songs, I realized that lots of the lyrics seemed to be just whining about stuff. Not exactly a sin but annoying once I started hearing it.
Sounds nostalgic for a time that simply wasn't my own. It's a personal failing, but I can't look past the old timey feeling of it. Really good as far as live albums go though, the crowd was really into it for obvious reasons.
Pretty pleasant to listen to! Definitely better than most music of the era. Doesn't sound incredible or anything now, but honestly I think it's just because he was so influential on a lot of acts that I like, so this ends up sounding kind of basic. Have to pay respects at least, but I probably won't listen again.
Man, the emotions coming out of every song here extremely teen. There's a good reason these guys popped off back then. It's not subtle or even artful really, but there's catharsis to just shouting out the exact thing you feel.
Surprisingly low energy for what I had always considered to be aggressive club songs. Maybe I've just heard them too much so they have lost the element of surprise? Hard to say really. In any case, while I'm sure it was influential on all the music that came afterwards and I can even see how it was popular, it doesn't evoke a ton out of me.
You know that when the first lyric that hits is about OPEC it's gonna be a good album. There's a shocking amount of good politics in here, and I have no idea how you could even learn about most of this stuff in the early 90s like that. Information wasn't as easy to get as it is now. Even pushing back against homophobia. I was a 90s kid and that was not a popular position! The music itself isn't amazing, but it felt pretty affirming and engaging to listen to. It's good as entertainment but I have to dock a star for not being amazing as music.
Really impressive work here. Every song feels like a very different idea that builds on its own. The rhyme schemes are wild too, there are several sections where she just kept adding line after line to the rhyming and I was stunned every time I realized it wasn't done yet. Hadn't heard her since the 90s and it's wild she's been so consistent.
Plenty of soul here but nothing inspiring to me personally unfortunately. Maybe I have been a little radicalized against this kind of thing since I was into much different music at the time this was released.
Nirvana really strikes me as "you had to be there" music. I'm sorry! I don't think, in the current era, it sounds interesting or striking without either nostalgia or the competing vibes of the era to contextualize it. I think perhaps too much music has metabolized the core of it over time which leaves it sounding merely plain.
Way bigger fan of this than I expected. He's cribbing pretty liberally from soul giants before him and I hope he's giving credit where it's due, but it comes together in an incredibly good package here. The B-side "Spirit" sounds like it could have come off any JRPG soundtrack of the era.
Incredible work. It's occupying just the right level between ambience and activity. Something about having vocal samples from speeches used in songs is just catnip to me and there's lots of really great uses on this record of exactly that. I don't know that I'd recommend it to anyone since it feels tuned very specifically to my taste, but it nails it for me.
It's fine but forgettable. At times a little rocky and at times a little swingy, I guess, but it very easily just faded into the background and didn't capture my attention at all.
Really good as a historical artifact, and obviously he's overflowing with talent. However, I don't think this has what I'm looking for and I don't think I'll listen again. The vocal performance is the huge star but the music as a whole is a little too straightforward.
Pretty good, classic sound. Obviously "That Lady" is all over culture and I had no idea who the artist was, so it's great to listen to their additional stuff. I can see how this had tons of influence on 90s boy bands that came later.
So, obviously the song Imagine towers over everything else on this album. Great song, simple but effective, sure. The rest is kind of charming in showing just how much of a wife guy John Lennon was. I know that was like his whole thing (eventually) but it really all comes down to that. Simple music but not unpleasant.
I'm afraid I don't get it! The music is energetic but it drowns out any meaning. It's like taking a spoonful of cinnamon where the whole thing just becomes generic stimulation with no flavor. It seems like they're trying to evoke grand themes without having anything to say at all. Pretty disappointing.
Pretty decent, good variety, high-energy set of songs. I think there was a lot of this kind of thing at the time. I find the sort of fourth-wall-breaking ("your new favorite band" and "the hives are the law" etc) cringey but I'm sure in 2001 I would have been going wild for it. Decent music overall, enjoyed the momentum.
This is surprisingly close to what punk music eventually grew up to be, way closer than some of the others got. It falls cleanly into a narrow genre I think of as "music from the Rock Band soundtrack" despite not being in that game (I think). I bet all of these are really fun to play, and they sound like they're having a blast. Pretty enjoyable listen.
Amazing album! Somehow retains a really great 70s soul spirit despite being so recent. Never would have guessed this was 2019, it sounds like it came out of a time machine from back then. Great variety between fast dancey songs and slow emotional songs. Exactly the kind of sound I was hoping to find from doing an album a day that I never ever would have found otherwise.
Pretty good, but pretty short. A lot of this is a little forgettable to me unfortunately, but I don't hate it. I think the sensibilities are in the right direction, but it feels like it's constantly approaching my particular musical taste and then stopping just short of arriving.
I'm a fan of any music that incorporates an orchestra for the extra gravitas. That said, this was a little on the slow side. It's like the soundtrack at an aquarium, it really sets a mood but it's not going to be something I come back to again and again.
Pretty big fan of this! I think she can only get so much credit for covers, but her taste in picking songs to cover is pretty good, and she nails all of them. It's sort of an interesting cultural exchange to have a white British woman singing both country and motown songs, but somehow the combination really works for me.
I like what they're doing here. The interesting part of jazz to me is how they can make it sound like words, sentences, paragraphs, and conversations, without actually using a language besides music. I like listening closely to figure out what the ideas being expressed are, and I'm always shocked at how clearly they can come across.
Not too bad, it's at least pretty high-energy. I like that they're really selling a vision like a concept album would.
The chorus of "Just What I Needed" was omnipresent in culture, and was the only song I was familiar with. The rest did not make much of an impression at all, and really blends in with all the other music of the era. Didn't hate it, but won't remember it.
Sounds really good and fresh, even now. The End of the World is great (the song, anyway) and The One I Love still hits. Two songs that transcend generations, back to back on one album, is enough for me to give this one a lot of credit.
Really bizarre and goofy. Shouting about religion over music that truly sounds like people beating the instruments at random, it's really hard to see the value in any of this. I guess the singers were in punk bands previously and this is an experiment afterwards? I can respect wanting to try stuff out but I'm sad to say that the experiment failed.
Pretty good stuff honestly. The standout, "Our House", is pretty recognizable but honestly it doesn't even sound like the other songs on the album! That's huge praise since most of these are pretty one-note, but this band has a lot of interesting range.
Surprisingly big fan of this, more than other jazz I've heard. I really appreciate how these have a steady, unchanging pattern underlying the improvisation parts above it, which gives a sense of context for it. It's no longer just "here's the notes", but I can think of "here's some notes that are related to, but different from, the last time you heard this measure". It's able to set up expectations in a way that straight improv can't. Enjoyed this a lot!
Way better than most rock of the era. This sounds really fun to perform and I'm sure it's a great time live, too! It's hard to convey a sense of speed in music since if you go too fast then it just sounds like texture and loops back around to being slow, but they really pull it off in this. Really surprised me.
Not particularly pleasant. I would struggle to articulate why, but this just feels kind of brash to me, like it's noise for the sake of noise without much identifiable artistry there. To be clear, I'm sure there *is* artistry in there, nobody makes music without it. But it's inaccessible to me.
Really like the guy's voice but really hate the album art. Has kind of a 50s vibe to it, with the heavy vibrato and funk chords and stuff. It gives it a nice classic vibe that is somehow hard to evoke even from other music of the era.
I admit I came into this with priors because of his politics, but I tried to suppress that to hear it for what it was. I remember listening to this at the time, and Bawitdaba is one of those songs that planted its lyrics permanently in my brain, along with "six foot nine with a ten foot <bleep>" (I mostly heard the radio edit). So coming back to this, it is way worse than I remembered. Most of the songs have a kind of educational rap vibe to them, like one step removed from "I'm Kid Rock and I'm here to say, I'm rapping real cool in a major way!". It's really hard to take seriously.
Such a phenomenal record, honestly. Every song is a banger. Not only is it all really fun and dancey, but there's some amount of conceptual worldbuilding here too. It's totally obvious how these guys captured so much attention and stayed in everyone's head even until now. Just an unmatched project.
Pretty good as a wall-of-sound, ambient noise sort of thing. I somehow absorbed an idea from culture that NIN was basically doing the same thing as Radiohead, that they were a kind of revered artsy indie thing. This is way outside my expectations and I'm kind of surprised this got popular! I enjoy it a lot but it feels like it is especially *for me*, narrowly. It's a great feeling knowing that so many other people seem to like what I like. Listening to this album basically elevated my opinion of society in general, or at least their taste in music.
Somehow sounds like it's from the future almost 40 years later. Tons of interesting ideas and a lot of variety here. Good example of an experimental project really working out. I liked how different each song was from the previous one while still maintaining a coherent-ish vibe through the whole thing.
It's been cool jumping into these thinking "I've never heard of this in my life" and then hearing the one song that completely permeated culture that I have not really thought about individually (Brimful of Asha), and then hearing more songs and realizing things about the omnipresent song that I never realized before (it's super Indian!). Really delightful record honestly. Really like all the sampling-heavy, cut-together stuff. They don't seem afraid to just play around with anything that makes any kind of sound at all and incorporate it into music. Great listen.
Not too bad! I was worried it was going to be more generic metal but this really moves things along quickly and jumps between ideas in a satisfying way. I like the really high register of the vocalist, it gives the music a kind of panicked and frantic nature that's almost a little alarming. It's a nice bit of stimulation that makes the rest of the music come through really strongly. They also seem to really care about melodies staying interesting without getting repetitive. Surprisingly strong showing from a rock album.
Solid selection here. I really appreciate how electronic this sounds, there's a lot of ambient wall-of-sound texture here. I was expecting, for some reason, something a little more pop-rock, so it's a pleasant surprise to feel this melancholy droning. It seems like it's going for something high-concept, and I haven't looked up if there actually is some kind of story behind it, because I appreciate the gesture either way.
There's nothing that stands out about this to me. It seems completely middle of the road and uncontroversial, which i guess is how you get popular, but it doesn't do great on a list like this. No real variation or energy.
Not my thing at all, sorry! On the noise to music scale this is tilted pretty far to the noise end. Whatever emotion is being conveyed here, I am utterly unable to connect with it. I guess it would work as a movie soundtrack or something where it's supporting some other legible thing on top of it, but I can't say the music on its own is doing anything for me.
It's fine, but only fine. Lovely voice paired with pretty uninspiring guitar. It's not offensive or bad or anything, but it nothing here gets my attention or sparks any interest in me to invest it in this bland texture.
