8/10 Album. Super strong start. First half is phenomenal. Wish the lyrics were a bit more deep but honestly the style of basic emotional lyrics came through to me and did move me several times. Drove me to tear in the car to Piano Joint. Honestly Might be closer to 8.5/10 I mean I damn near added every song.
Super iconic intro, really incredible. Unfortunately used so much for youtube shorts and whatnot that it kind of lost its novelty. VCR was a cute song and very relatable but the hook was not strong enough for me personally. Crystalised is a cool song, love the riff at the start, but is also missing something for me personally. Honestly this seems like the type of band that kind of leaned into a indie edm vibe that is chill. Never really messed around with it. Islands sounds nice too. But overall the takeaway is that the music is too slow or under stimulating. I do like the melancholy of Heart Skipped a Beat. Fantasy is awesome and surreal. Shelter by porter robinson is better. Still Shelter is prob my fav song so far beside intro. Still all that buildup for nothing? I need a scream or like a crazy guitar riff. Basic Space sounds like Human Music from that one rick and morty episode at the start lol. Infinity sounds fine. Hate how it swells just to deflate rather than pop or climax. 'There's a fine line between music that's "atmospheric" and "monotonous." ' and personally im in the latter camp. Night time is a bit more fun. I actually quite like this one and perhaps this is when the album clicked for me. It sounds sort of like Molchat Doma or even some Kino. I'm a fan. Let's see if the rest of the album ever makes me feel like that again. Nope, not that big a fan of Stars. Okay so prob like a 5/10 for me. I understand how this is an iconic album. The blend of minimalist sound with indie rock + electronic and dream pop elements are great. It's an incredibly intimate album and the guitars are artfully picked. The dual lead vocals of Romy and Oliver creates a fun push-and-pull.
A Disappointing Journey Through 60s Rock Mythology
After listening to Aftermath in its entirety, I'm left wondering how this album earned its reputation as a classic. While "Paint It Black" is an undeniable masterpiece (dark, hypnotic, and genuinely innovative with its sitar-driven melody) the rest of the album ranges from forgettable filler to outright offensive misogyny.
The Good:
"Paint It Black" stands alone as the album's only redeeming track. Its apocalyptic lyrics and Eastern-influenced sound create something timeless and genuinely unsettling. It's a song that rightfully earned its place in rock history.
"I Am Waiting" was a pleasant surprise with its weird rhythm and Appalachian folk instrumentation. It has a mysterious atmosphere that sets it apart, though it's not something I'd add to a playlist.
The Bad:
The album is unfortunately defined by its deeply unpleasant attitude toward women. "Stupid Girl" is a bitter, juvenile rant. "Under My Thumb" is even worse: a celebration of emotional domination and dehumanization that's genuinely uncomfortable to listen to. The imagery of women as "squirming dogs" and "pets" is indefensible.
"Think" continues this pattern with a childish argument where Jagger badgers a woman to take responsibility for everything, oblivious to his own flaws. "Out of Time" is more of the same dismissive nonsense.
The Forgettable:
"Flight 505" sounds like background music in a diner, a bland story about a plane crash that goes nowhere. "High and Dry" is a mildly amusing country-blues experiment about a gold-digger getting outsmarted, but it's hardly noteworthy. "Goin' Home" is historically significant as the first extended rock jam, but listening to it is a slog. The 11-minute improvisation meanders.
"Lady Jane" has a pleasant Baroque sound but lacks substance. "It's Not Easy" tries to be introspective (Jagger admitting he took his woman for granted) but it just reinforces the era's attitude that women existed to serve men.
The Problem:
Beyond individual tracks, Aftermath suffers from a broader issue: the Stones were young, privileged white men in 1960s London appropriating African American blues traditions and repurposing them for petty relationship grievances. The weight of the blues (systemic oppression, slavery, Jim Crow) is entirely absent. What should have depth becomes goofy posturing.
Final Verdict:
Aftermath is an album carried entirely by one brilliant single. The rest is either misogynistic garbage or forgettable filler. The Stones may have been revolutionary for their time, but listening today, the "edgy" rebellion sounds childish and dated. If you want the blues, listen to the Black artists who actually lived it. If you want great rock, skip this and keep "Paint It Black" on your playlist.
Rating: 2/10 (7 points for "Paint It Black," 3 for "I Am Waiting," and a collective -8 for everything else)
A Progressive Rock Masterpiece, but Not Without Its Baggage
From what I know, Moving Pictures is widely considered Rush's definitive album. Here was the moment they balanced their progressive rock complexity with tighter, more accessible songwriting. It's an impressive showcase of technical musicianship, with four tracks earning spots on my playlist.
"Tom Sawyer" kicks things off with an iconic synth riff and one of the most recognizable drum fills in rock history. The lyrics about a "modern-day warrior" with a mind not for rent capture the band's individualist spirit. It's a classic (and I appreciate the line about not selling your mind to any god or government) but the glorification of the individualist lands a bit off for me. I am thrust to remember how this type of rugged individualism is historically tied to capitalism and white imperialist culture. The song lands somewhere between a 7 and an 8.
"Red Barchetta" tells a sci-fi story about a dystopian future where private cars are banned. The guitar breaks are super fun, and the musicianship is exceptional. But the "better vanished time" nostalgia is questionable: better for whom? That kind of longing for a pre-industrial past can veer into reactionary territory. That said, rebellion against a hypersurveillant state has its uses. I'd give it a 5 to 6.
"YYZ" is an instrumental built around Toronto's airport Morse code. The riff at 2:50 and the bridge that follows are genuinely exhilarating. These guys really know their music. Added to playlist. 6.5 to 7.
"Limelight" is about Neil Peart's discomfort with fame. The lyrics are unusually honest ("I can't pretend a stranger is a long-awaited friend") and the chorus is catchy. It's a well-written reflection on the cost of success, though the song's solution (put up barriers) is individualistic rather than transformative. 5 to 6.
"The Camera Eye" is my favorite: a sprawling, 11-minute journey contrasting New York and London. The first half's relentless drive and the second half's wistful atmosphere make it a standout. It pushes boundaries and is genuinely engaging throughout. Great instrumentation, great vocals. It feels like a precursor to Dragonforce. Strong 8 to 9.
"Witch Hunt" takes a darker turn, warning against mob mentality and fear-driven prejudice. It's politically charged and still relevant, though not the album's strongest musically.
"Vital Signs" closes things out with a reggae-influenced, quirky energy. It's a fun, playful track about individuality and persistence: a perfect palate cleanser.
Moving Pictures is a significant album in rock's progression, though it carries the baggage of its cultural context. The technical skill is undeniable, and the storytelling is compelling.
