Reviews by abrisskull

This album has the unfortunate problem of being under the shadow of its overexposed title track, and the man who is considered by many to be the least favorite Beatle. I never hated John Lennon as a person or artist, but this is a case where the situation can go awry when one's ego isn't checked.

In particular, the production throughout this album is rough, especially in the middle with songs like "It's So Hard" and "I Don't Want to Be a Soldier Mama" where the vocal mixing is all warbly, which does not work for John's already off-kilter delivery. That's before you get into the lyrics, where there are attempts at political songs but don't quite hit the mark or make a passive stance like with the title track that comes off as middling.

There are some good songs here, such as "Jealous Guy" which paints a rather bleak picture of how hurt John must have felt to cause unintentional harm to others, and "Gimme Some Truth" and "How Do You Sleep?" which have some great slide guitarwork courtesy of fellow Beatle George Harrison. But those highlights are few and far between.

Overall, this album's not bad, but I don't see myself revisiting it anytime soon.

I remember mowing my neighbors' lawns as a teenager, blasting this album on my iPod. Every track hit hard as a kid getting into metal music, and I can comfortably say that sentiment rings true 15-ish years later.

Back in the '80s, every member of Metallica brought their A-game. The guitarwork of James Hetfield and Kirk Hammett was impeccable and relentless, the late Cliff Burton's bass compositions came straight out of a classically trained mindset, and even Lars Ulrich's drumming was ferocious for the time.

It's a testament to how they constructed a meaningful album with just eight songs. Each track goes through multiple movements that make you feel a wide range of emotions, from the opener "Battery" which eases its way into blistering riffage to the pulse-pounding stomp of "The Thing That Should Not Be", and even the instrumental "Orion" that showcased the song-crafting prowess of one of the best bass players gone too soon.

There's a certain magic to Master of Puppets that's hard to replicate, even for Metallica themselves years later. This is worth the listen.

Well, this is my first listen to a Smiths album. I've heard "How Soon is Now?" in passing, though I haven't bothered to seek the Smiths out because Morrissey is that big of an asshole to ward me away from his old band. Having listened to this, I can say he was the problem for The Smiths.

Morrisey's baritone vocal style and excessive wordiness hold this album back. He comes off more as rambling than any typical vocal cadence. Only a few songs like "That Joke Isn't Funny Anymore" and "Well I Wonder" have enough space to allow him to sing, which does work.

Lyrically, I will at least meet him halfway in that the songs against corporal punishment like "The Headmaster's Ritual" are generally good. Also of note are songs like "What She Said", "Nowhere Fast" and "That Joke Isn't Funny Anymore" where the contemplations of death carry a sense of empathy that you wouldn't expect from the man writing these songs.

Unfortunately, that also brings us to the closing title track, which has a very pro-vegetarian stance that isn't for me. As someone who is a meat-eater, I can't speak for those who choose not to consume meat. However, I disagree with Morrissey saying that eating meat is "death for no reason" from an understanding of the life cycle and survival.

Up to this point, I hadn't even gone into the instrumentation, which is the saving grace for this album. Johnny Marr is an excellent guitarist and songwriter, able to experiment with different styles from funk to rockabilly within the post-punk sense. Andy Rourke is an impeccable bass player who complements Johnny's work. Mike Joyce on the drums can keep it well-accented and does a superb job with the percussion arrangement for enough space between sections.

Overall, it's a solid album from an instrumental standpoint that gets hampered down by the frontman. Not the worst, but I don't expect to revisit this anytime soon.

Well, this is the first proper Beach Boys album I'm listening to. I've heard songs like "Surfin' USA" and "Little Saint Nick" in passing, though never cared enough to seek them out. I did not expect they would forego the whimsical nature of their surf rock '60s material for a more psychedelic prog-rock album.

This is a strange album, where it takes twisted turns using Moog synthesizers, Hammond organs, electric guitars, and vocal effects while taking a crack at socially conscious lyrics for the time. It's not a perfect album, as not every experiment goes well. But I'll be damned if I'm not impressed with the boys trying something different than what I expected. Give it a shot.

Update 8/17/2026: You know, with my recent appreciation for the Beach Boys, I wanted to go back to Surf's Up and figure out why I felt that this wasn't a perfect album. Upon relistening, I found a few tracks to be not quite up to par.

There's the corny novelty of "Take a Load Off Your Feet," complete with kooky sound effects and Al Jardine's hammy foot-focused lyrics. Then later on we have Mike Love's clunky reworking of Jerry Lieber and Mike Stoller's "Riot in Cell Block Number 9" into "Student Demonstration Time," where Mike tries to appeal to both the student protesters and the police force after the Kent State Massacre happened, and he ends up appealing to neither party amidst the ear-grating sirens. Both of those songs drag the experience down a peg for me.

It's a shame, because otherwise, I do feel that The Beach Boys, under the direction of then co-manager Jack Rieley, made genuine strides in revamping their style and presentation. I got some genuine pathos from their messaging on environmental destruction in "Don't Go Near the Water" and "A Day in the Life of a Tree", Carl Wilson's strife to overcome his obstacles on "Long Promised Road", Bruce Johnston's longing for a simpler time on "Disney Girls (1957)", the rather poignant soliloquy about being down on your luck in between jobs on "Lookin' at Tomorrow (A Welare Song)", and the examination of Brian Wilson's mental state on "Feel Flows" and "'Til I Die". Plus, the title track lifted from the Smile sessions proved to be an effective closer, as a two-movement tale of a spiritual awakening that once again showcased how damn good a songwriter Brian was.

So yeah, Surf's Up is a good record overall, on the cusp of greatness even.

This is an oddity of an album, starting with the fact that I hadn't heard of Barry Adamson before. He's regarded as a musician, writer, composer, photographer, and filmmaker, who's worked with Magazine, Nick Cave and the Bad Seeds, and Depeche Mode. His solo albums tend to be described as soundtracks for imaginary films, and Oedipus Schmoedipus is no exception.

Much like a soundtrack album, various styles are at play, ranging from funk, lounge, big band, and spoken word. Not all of it works, such as the dissonant nature of "Dirty Barry" with the horn blares and "It's Business as Usual" combining found audio recording with piano string manipulation reminiscent of Henry Cowell's "The Banshee". But it's at least kept interesting throughout the runtime, with the tracks aligning to how such a movie would sound.

Overall it's a very niche album where I'm not sure of its inclusion on this list of albums you must hear before you die, but I don't regret listening to it once. In that sense, it's much like a movie you see once and probably not revisit unless you genuinely want to.

From what I can gather, Jean-Michel Jarre is considered a pioneer of electronic ambient music, and this album is exactly that. Broken into six movements, Oxygène is a relaxing listen where the synthesizer hooks pop off and don't overstay their welcome. Some portions of the piece stand out like the keyboard swagger of Part V; that's a toe-tapper. This is a niche album, where not everyone's on board for ambient music. It comes with a solid recommendation if you're curious about this genre.

Update 2/2/2026: I ended up revisiting Oxygène over 400 albums later, and I am stunned at how many more melodies and motifs I was able to pick up this time around. Loops on tracks like Parts II, V, and VI gradually built into hypnotic soundscapes that simultaneously corresponded to their organic orchestral counterparts and yet were otherworldly in execution. What was also remarkable was how many synthesizer effects simulated the sounds of the natural world, such as chirping birds, crashing waves, or roaring thunder. Jean was apparently inspired by environmental issues pertinent at the time, alongside his selection of the album artwork of the skull inside the Earth. This album was not meant to be any political statement so much as an appreciation for and wonderment of the very world we live in, and to not take nature for granted, and the presentation fit that to a T.

I feel like the notion of calling this album "ambient" is a bit of a misnomer. The better descriptor for Oxygène would be "captivating trance". It certainly made for a more compelling listen than what I thought previously.

There's no denying this is a classic debut album from one of the most influential bands in rock history, stacked with heavy hitters like "Good Times Bad Times" and "Communication Breakdown" as well as inspired blues and folk covers such as "Dazed and Confused" and "Babe I'm Gonna Leave You".

The only problem is that it's still a debut album where the growing pains are evident, as the second half of the album loses momentum on "Your Time is Gonna Come". However, it transitions nicely into the instrumental "Black Mountain Side" before picking things up again.

Overall, it's a solid fundamental album for the genre, and as such gets a recommendation for those into rock and proto-metal.

Well, I'm going into this album already familiar with Deep Purple as one of the pioneering heavy metal bands. I've heard most of the tracks off this album before in pieces. Putting the pieces together, I will say this album kicks ass.

Most of In Rock consists of hard rocking hitters one after another, from the one-two punch opening of "Speed King" and "Bloodsucker" to the percussive banger "Flight of the Rat" and the raucous outro "Hard Lovin' Man". The sole exception is the ten-minute epic "Child in Time". While the track is long, it's never boring as the band runs through multiple movements and never feels overwhelming until the appropriate climax. If anything, it's a standout song with Ian Gillan's vocal delivery and Jon Lord's organ playing.

I'm comfortable giving this a high recommendation. It may not be Machine Head, but it does set the blueprint for albums like that.

For this review, I'm sticking to the original track listing and not counting the bonus tracks from the 2001 remastered version.

I'm already familiar with Muddy Waters as a blues legend, with this being a hallmark performance of his at the Newport Jazz Festival in 1960. This is peak Chicago-style blues for those who are into the classics, complete with an upbeat performance by Muddy and his live band. There's a reason why this album has been cited for developing the hard rock sound. Check it out.

I've heard of The National before, and this is the second album I'm checking out from them after First Two Pages of Frankenstein. It's the kind of indie rock and post-punk blend you would expect from such a reputable group, where rich poetry is delivered over fuzzy hooks, well-accented drums, and great grooves. I don't expect everyone to like this, given the genres they belong in and Matt Berninger's lower register. But if you're into that style of music, then it's a solid recommendation.

This is the first time I've ever heard of Will Oldham; likewise, this was the first time he published music under the alias Bonnie "Prince" Billy. From what I can tell, this kind of music can be described as "gothic folk", where dark and weighty lyrics are sung over haunting melodies. In that regard, the album is certainly well-crafted. I can see why Johnny Cash would cover the title track shortly after.

There are just a few problems with this album - Will's warbly vocal delivery and the overall tone. This is not for everyone, given how bleak it comes off. If you're already in a bad or unpleasant mood, chances are good this album will not make it any better. From the right mindset, give it a spin.

I've heard Beck here and there before, and this will make the first full album I sit down for him. It's a folk rock album where he croons along to his guitar playing and accompanying strings, with a very melancholic tone as he wrote these songs after he ended a nine-year relationship with his fiancee. The album is pretty well done, even if it goes longer than it should and won't be everyone's cup of tea. Give it a shot.

There’s a good chance you’ve heard the opening track “Hello” before, which has become a hallmark in Adele’s catalog with the spare piano and touches of reverb that build into a choir echoing into the emptiness. There’s also a good chance you’ve heard the next track “Send My Love (To Your New Lover)” before, which is one of her weakest songs with the muffled stomp-clap beat that takes more focus than any semblance of melody. The fact these two are together sets the tone for how inconsistent this album is.

It’s not a bad album, but it’s pretty apparent how each song has a different producer, which leads to different vocal effects and instrumental compositions across the album. Adele has been at her best when the production is dark and gritty, and that’s not always what you get here.

This also translates to this album's vocal performance and lyrical themes, where it’s coming from a more mature perspective, reflecting on past relationships. She isn’t midway through a breakup like she was on 21, thus the framing would be different. But the songwriting hasn’t aged up with that maturity all the way through, and there is not as much raw power in the delivery. “Hello” and “Love in the Dark” are great songs, but you don’t quite get a “Rolling in the Deep” or “Set Fire to the Rain” here.

Overall, it’s a solid album that will get a recommendation, as there are good selections to be had here. I wish it were a little tighter and more focused.

This seems to be a case where an album was added to the revised edition of the list within a couple of months after the album dropped. From what I can gather, they are an indie rock band that describes themselves as "ambient punk", and this fourth album of theirs is loosely based on the human tendency to re-imagine our memories to make them look better than how they played out. There is some well-accented percussion and guitar work to a fair amount of the tracks such as the singles "Revival" and "Memory", along the lines of psychedelic rock music from the '60s. Unfortunately, the album is bookended by tracks that lean more towards ambient shoegaze, which is an odd juxtaposition. It's a solid album overall for the psychedelia once you dig in.

From my understanding, Tricky started as a member of Massive Attack, a group considered one of the pioneers of the trip-hop genre. He left them in the mid-'90s to pursue a solo career alongside vocalist Martina Topley-Bird, with this album being their debut.

With that little background out of the way, I can say this album was a trip. Elements of psychedelic rock, R&B, electronica, and hip-hop are blended and weaved into this dark little package. Martina's smooth delivery and Tricky's off-kilter spoken rap balance out each other, only broken up occasionally by appearances from Alison Goldfrapp and Ragga, who also do an excellent job. Aside from the covers of Massive Attack's "Karmacoma" and Public Enemy's "Black Steel in the Hour of Chaos", this album lyrically taps into the psychological effects of recreational drugs and sexual paranoia. It's uneasy with purpose.

With all that said, I don't expect everyone to enjoy this album. It's a slower and more ambient album than what someone would expect from a rapper. But if you're into that style, it's highly recommended.

Update 4/21/2025: 200+ albums later, I went back to Maxinquaye after realizing I didn't really articulate any issues I had with this record outside of the general statement of not expecting everyone to enjoy this album. After all, music is subjective, and not everyone's going to have the same opinion. Upon relistening, I can better explain what stopped me from going head over heels for Tricky's debut.

Let's start with Tricky himself, particularly his soft-spoken rap cadence throughout this record. Compared to Martina's well-sung delivery, Tricky comes off as vocally inferior on his own record, save for moments where he builds more strength in his flow, such as on tracks like "Brand New You're Retro" and "Suffocated Love".

Add to that, as much as I commend the two of them for varying the styles and compositions employed in these tracks, the album does feel its length running at almost an hour. My engagement started to wane on the penultimate track "Strugglin'", which is probably an apt title given the stream-of-consciousness lyrics of a painful existence with the slow, spare percussive beat and the sample of a creaking door.

Still, I do consider Maxinquaye to be a solid and innovative debut, as Tricky, with help from Martina and company, carved their own legacy in the trip-hop genre.

I'll admit I hadn't heard of Richard Hawley before. He seems to be a prolific singer-songwriter, guitarist, and producer who's worked with artists such as Pulp, Arctic Monkeys, and Gwen Stefani. For this being my first album of his listening to, it's pretty solid. There's a bit of variety in the throwback sound employed here, from vintage pop to country and blues. It's well-crafted and easy to listen to, though its momentum slows down by the end with the ambient instrumental "Last Orders". It's pleasant to have in the background, though not many songs stand out.

Chances are good you've heard "Dancing Queen" before at a wedding or other occasion for hitting the dance floor. This is the album where that song comes from, along with other easy-listening pop tunes. It's a largely inoffensive record with solid production, though your enjoyment will vary depending on how much you can tolerate this style of music. If that sounds like your vibe, then check it out.

Bowie described this album as "plastic soul", which means soul music that is believed to lack authenticity. It's certainly not that often for an artist to be self-critical of their work within a year after its release, and he would later soften his stance while still aware that it was an attempt at soul music from a white man. Having listened to this album, that is exactly what we get.

It's not a bad album, as it's aesthetically pleasing and bookmarked well enough by the title track and "Fame". Bowie was helped through the recording thanks to funk guitarist Carlos Alomar, saxophonist David Sanborn, backing vocalists Ava Cherry and Luther Vandross, and John Lennon. But at the end of the day, most of the tracks permeate with this sense of a white man trying to adapt to a style of music that he wasn't comfortable with. From a historical standpoint, this is one of the first notable instances of such a phenomenon.

Young Americans as an album certainly has its place in Bowie's discography, albeit as an odd little phase. Make of that what you will.

After an unprecedented effect on the pop music landscape with her debut Pure Heroine, Lorde wanted to expand her artistic reach with her second album. Quite simply, that effort paid off in spades.

From a production standpoint, it's impeccable as she made full use of Jack Antonoff as her producer this time. Together, they took the pop satire from her previous effort and added better framing, stronger melodies, and greater influence. Lorde's intense delivery is expanded here from soft coos to outright belting that opens her range. Peppered throughout are just enough discordant elements to add to the intensity, such as the horns on "Sober" or the unstable guitar on "Hard Feelings/Loveless". Enough is going on here musically to serve as a fitting backdrop for the loose framework in the forefront.

Lyrically, this album was written based on Lorde's experience after her first breakup. The album opens with the one-two-three punch of "Green Light", "Sober", and "Homemade Dynamite", setting the stage for a reckless party where Lorde is acutely self-aware of how inflaming such an environment can be. She throws herself in too deep for the temptation of it all which makes the heartbreak on "Liability" all the more piercing. From there, that heartbreak is processed, from the separation felt in "Hard Feelings/Loveless", to obsession in "Writer in the Dark", to the reliving of memories in "Supercut". All for her to come around at the end with "Perfect Places", reaching a point where she accepts the consequence of the reckless love experienced, but is not one to abandon it.

This album takes a deconstructive approach to pop music, then comes around and celebrates it much harder. It lives up to its title, but with enough sense of humanity that makes the trip worthwhile.

For this review, I'm looking at the original tracklisting of the album, without the CD reissue bonus tracks.

Having heard "Bela Lugosi's Dead" and "Dark Entries" before, I know that Bauhaus is considered one of the progenitors of the goth rock subgenre. Their second studio album, Mask, was their attempt at expanding their sound, incorporating keyboards, funky rhythms, and saxophone. There is a wide range of tones throughout, from the somber "Hollow Hills" to the groovy "Kick in the Eye", and the rather ominous title track that closes the album. What pleased me the most was how good Kevin Haskins was behind the kit, with well-accented shuffle beats and the right amount of space for the percussion. Your mileage with this album will depend on how well you tolerate the experimentation, along with Peter Murphy's vocals, as his delivery can get maniacal. If you're into the goth scene, it's a solid recommendation.

Update 1/15/2026: I ended up revisiting Mask over 400 albums later, and I think I can better articulate why I consider this album good, if not exceptional. Most of the credit for the quality on display is courtesy of the rhythm section. David J's supple bass lines pushed to the front of the mix, and Kevin Haskins's tight and frenetic percussion, together form the basis for some eerily delectable tunes. To be fair, Daniel Ash also boasts some delightful post-punk guitar riffs drenched in reverb that also work out well, such as on "The Man With X-Ray Eyes" and "Kick in the Eye". From an instrumental standpoint, this album is amazing, bolstered by some well-done production on the band's part.

That leaves vocalist Peter Murphy, and I'm admittedly torn with his delivery. On the one hand, his off-kilter delivery did fit the overall mood of this record, as he sang about self-mutilation and related macabre imagery, which felt befitting for these compositions. But on the other hand, his delivery did admittedly become tiring to listen to after a while, only broken up by the spoken-word poetry of "Of Lilies and Remains" towards the beginning of the record.

Again, I still consider Mask to be a good record that helped form the identity of goth rock as a subgenre, and I did enjoy revisiting it. If anything, I do appreciate a record like this that helped make the sound more accessible for newcomers, proving that Bauhaus weren't afraid to adapt.