1001 Albums Summary

Bossa Nova is fine, but it's not Samba.

Muitooooo bom! Parece aquelas bagunças que só a gente se acha. Blues e country misturados com rock e até uma faixa com influência celta no meio. Só joias.

ta gritando por que?

Absolute Rock Progressivo. Flautas transversais e corais de canto gregoriano seguidos de guitarras elétricas e baterias! Uma viagem no tempo, no espaço, na maionese... De arranjos lindos de violão e cordas medievais até intros de piano de jazz em faixas de rock progressivo. Ponto mais alto do álbum é Locomotive Breath. Absolute Progressive Rock. Transverse flutes and Gregorian chants followed by electric guitars and drums! A trip through time, space, and mind... From beautiful arrangements of acoustic guitar and medieval strings to jazz piano intros on progressive rock tracks. The highest point of the album is Locomotive Breath.

Masterpiece! How wrong was I to not expect that from ABBA?

White people really be listening to anything, huh?

Not my thing

Por falar em hate, eu me odeio, mas não tanto

Nazi shit.

Black stands as one of the best songs released in the 90's. Alive has got beautiful heartbreaking lyrics and imagery. Even Flow is still a pretty energetic banger. Oceans was a happy surprise, and a much needed break from the more [kind of] metal stuff. The album could be 10 minutes shorter, though. Overall, quite pleasant to listen to.

The Gift was peak

insufferable

Well... Whatever

If it weren't for the pedophilic, misogynistic lyrics, this would've been quite a pleasant listen. They're like red-pill Rolling Stones.

Sounds great! Jazz fusion is always a yes.

Imagine the most irritating parts of Joni Mitchell's singing blended with Carole King's discarded lyrics, all performed like a Broadway show.

Great! The first two songs didn't do much for me, but the rest of the album is more melodic, defiant, and confessional. Overall, it's great songwriting and musicianship. A very nice listen.

pelo amor de deus

I enjoyed it more than I expected from reading the title

Chatinho

Enfia no cu essa gaita

First of all, I’d like to start by saying that Metacritic shows a score of 91, Pitchfork rated it 8.8, and Rolling Stone called it “A PRODUCTION TOUR DE FORCE”, so I will NOT accept any slander. Not being the intended audience is fine, but to call it sterile, dull, or bland… NONSENSE! It’s been almost 10 years since the release of Lorde’s Melodrama, and it keeps proving itself as one of the best 2010s pieces of song production and writing. “Green Light” being a piano track and having such good percussion work (including the very rhythm and dynamics of the keys themselves) makes it an instant club classic. The chord progression shift and the start of the keys section on the pre-chorus make the song roll out as something new every time it happens. The feeling of release on the chorus is honestly genius. It's the type of song that feels cathartic to scream to. The songwriting and melodies are on absolute fire. Very tasteful, palpable lyrics you can only relate to in your early 20s. This song never gets old and sounds fresh on every listen. “Sober” is an amazing follow-up to "Green Light," another syncopated pop percussion gem with the most cutting, ironic lyrics and vocal performance. It really sets the tone for the rest of the album. The bridge/outro here is also a huge highlight. That lion (might be a tiger) roar strips the song of everything and leads you to a section with only drums and Lorde’s voice: “I’m acting like I don’t see every ribbon you used to tie yourself to me.” “Homemade Dynamite” shifts things into a more ethereal place with very grounded parts of drier production that bring you back to cold reality in a beat. This album really stands out as Jack Antonoff’s magnum opus. The range you need to have to produce this track and then go out there and collaborate on Taylor Swift’s folklore, or even Lana Del Rey’s Chemtrails Over the Country Club, is insane. Writing-wise, I have NEVER seen a car crash being narrated this kind of way: “Might get your friend to drive, but he can hardly see. We'll end up painted on the road, red and chrome, all the broken glass sparkling. I guess we're partying.” “The Louvre” is a personal favorite amongst all these great tracks. Again, the production must be highlighted here. We have departed far from the club and are heading directly into an existential, emotional crisis, and the way Antonoff prepares the ground is by bringing textures upon textures upon textures onto the song. The guitar at the end feels suspended in the air, nostalgic, and drops you right at the heart of the album (the next track). The way Lorde structures her songs to have such catchy, memorable pre-choruses and then resets the song and starts all over again is just great. “Liability” is devastating. It explains all that’s out of place on the previous tracks about breakups, going out, drinking, and dating, and why it all feels so empty and suspended up to this point. That’s when it hits you that there’s much more underneath that. Extremely vulnerable writing. Her ending this song with “You’re all gonna watch me disappear into the sun” and then coming back with Solar Power is a very satisfying full-circle moment. It reminds me that in the previous album she starts off the first song with “Don’t you think that it’s boring how people talk?” and ends the last one with “Let ‘em talk.” “Hard Feelings/Loveless” hits just as hard as “Liability.” The writing on this one is unmatched. Lorde paints a vivid picture of a quiet, pensive surrender as she and her lover end a relationship: “'Cause I remember the rush, when forever was us, before all of the winds of regret and mistrust. Now we sit in your car and our love is a ghost. Well, I guess I should go, yeah, I guess I should go.” The unhinged instrumentation on this very linear construction somehow creates something SO sad. I’m actually glad that there’s a second part with a great beat to it and some ironic lyrics, otherwise this would’ve been one of those songs that ends and leaves you empty looking at a white wall. “Sober II” is a nice cross between an interlude and a full-on track. It is very metalinguistic, almost as if Lorde was talking directly to the listener and acknowledging the last two bombs she just dropped: “We told you this is melodrama.” It sounds like she’s asking you to hang in there for the next heartbreaking confessional missile she’s firing at you with the following song. At this point in the album, you almost forget to pay attention to the production because the writing absolutely takes over. “Writer in the Dark” is desolating. Thank God she added “Sober II” in there, because it would’ve been shattering to listen to the last three songs back-to-back. The writing on this one is such a good depiction of what the restart after a breakup feels like—the feeling of loneliness without being fully over it. Simple and beautiful instrumental production with a heartbreaking interpretation. Lorde might not be your typical “good vocalist,” but she’s an incredible storyteller and a master at her craft. She can use her voice to paint a vivid state of mind like not many pop singers can. She is dynamic, emotional, and fearless; you can detect every single sentiment from her interpretation, and that’s very valuable as an artist. “Supercut” regains the sense of humor and irony that permeated the album on the first few tracks and brings you back to that crying-dancing stage that is so characteristic of this album so far. It is, in fact, obliteratingly melodramatic. We’re back at the club, but we’re still reminiscing. The drums are once again a highlight here. Very linear beat and rhythm. Just a very well-crafted pop-rock track. “Liability (Reprise)” represents a self-reflecting interlude where Lorde admits and acknowledges that yes, she is a liability after all, and life isn’t all roses. However, her lover has their flaws as well, and it implies that they do not possess any self-reflecting ability or sense of accountability: “But you’re not what you thought you were. Leave.” “Perfect Places” is the summary of all she has been exposing so far. “Are we lost enough?” she asks. “All of our heroes fading now. I can’t stand to be alone” paints a very accurate picture of what it feels like to grow up and to be “nineteen and on fire.” Very catchy production with the piano chords and synths all over the place, but still tasteful. It’s such a short album, but it’s an entire emotional journey with great confessional songwriting. The main sensation while listening to Melodrama is the feeling you get when it’s 10 PM on a Friday and you can’t decide whether to go out and cry at the club, or to stay home and cry on the couch.