Reviews by autro

Very fun indie electronic music. There's nothing groundbreaking, and it's a little repetitive and empty, but the melodies and smooth production make it very enticing. This album is simply good, with brain tingling synths and occasional saxophones being great additions. The listen was a good change of pace and it was pretty straightforward. I was never bored and was very attracted to the production, so a very low 4 it gets.

A jazz essential. Not only is this album a classic, but it's also a very technical work of art. Almost all the songs feature complex time signatures using 5/4, 9/8, 7/4, and more, while the piano takes heavy classical inspiration when it comes to stylistic phrasing. This album is more genre-bending than just jazz; it's perfect. The Brubeck Quartet displays a masterclass in dynamics as well. The vast contrast in solo work created with only 4 instruments is incredible, with the sax and piano players improvising straight peak. Joe Morello's ability to make odd time signatures sound so natural is subtly one of the album's highlights and essential functions. Paul Desmond's work on tracks like Take 5 and Kathy's Waltz is just so tasteful; I can only be baffled by his melodies. Each player's choice of rhythms are nothing short of genius, with their manipulation making each tune's groove interesting throughout the whole performance. A perfect accompaniment to my late night work.

It's really just a bunch of British nonsense. The songwriting is pretty vanilla and uncreative. Almost every track isn't even a minute long, so there's nothing to latch onto. All the short songs sounds the exact same too, making 2/3rds of the album pretty insufferable. The melodies are the most repetitive and boring things I've ever heard, I honestly wouldn't even really call it that. There are some decent ideas here, but they're just too crowded with all the bullshit. Seeing that this is their debut, they probably went on to become better at writing. But really, for the time, this is one of the most awful albums I've ever heard.

Going into this, I pretty much didn't expect anything else. Dear God this is awful. The guitars sound like they're recorded straight out of the incinerator, the vocals are terrible, and the best thing I'm hearing is the Black Sabbath homage (if you can call it that). This might actually be the worst recorded thing on the planet like it's really that bad. At least the Butthole Surfers have successfully made me feel scared and deranged, almost like the clowns on the cover are laughing at me. Speaking of which, I really like the album art. This album really does sound like a Locust Abortion Technician. Records like these do the "challenge" portion of the 1001 album challenge justice. This album is absolutely ruthless, and makes me wonder if this is what grandpas think metal sounds like. When the music isn't earraping you to death, the distorted vocals have time to scare the rest of the listeners that made it through. But this listen makes me kinda sad, because the creators of this list could've picked something amazing, but went with this garbage instead. Why? I don't know, but since the beginning of this record talks about regret and that you tend to regret the things you didn't do rather than the things you did, I still regretted listening to this piece of God awful shit.

Seeing that four songs are somehow an hour and six minutes, this listen was either going to be awful or amazing. It's safe to say it was neither. The first track is kinda boring, but the talent is definitely prominent. It could just be shortened a little, as it feels like the piece doesn't really progress at all. You can hear a melody and music peek through the playing, but it never fully comes out. He is also hitting the piano very hard at times. However after the second track kicks in, I was pulled right along. Something that makes this project enjoyable is that this guy is incredibly good at piano. It never gets too in your face, but it's enough chops to make me smile. The "vocals" that bleed into the songs are kinda weird though and sounds like this guys jerking off while playing piano for an hour. The flaws seen in the first song completely flip and prove my critiques wrong. I just wish that the whole album was a bit more consistent, and you know, maybe something more than just piano. But for its limitations, this album is pretty great. Very low 4.

I love the list because of albums like this. This album is absolutely gorgeous production and songwriting-wise, and it's pretty consistent too. The whole listen I was worried that the rest of the album wouldn't be that good until I finished the last track and realized it flew by fairly quickly. The crystal clean mixing with the electronic elements are phenomenal, making the whole album very trippy. A couple tracks are kinda repetitive or bland, but the peaks are great. Perfect for the situation I experienced it in.

Neil Young joining the trio is one music's luckiest collaborations. Brilliantly stacked harmonies on every song. Perfect blend of electric over acoustic. Deja Vu is just a priceless record with every track consistently banging in lyrics, balance of guitars, sonic textures with the acoustics, the list goes on. The 70s brought the technology to perfect the ideas of the 60s, and right out the gate Deja Vu blends folk with hard rock, combining some of rocks best voices together to make a short and sweet record. I only wish it was longer.

I went in expecting great things, and was pretty disappointed. The electric guitar sounds very pleasant, and is definitely the highlight of this album. I'm not the biggest fan of Stephen's vocals, and his poetry is pretty mediocre for folk music. Tennessee might have some of the worst lyrics I've heard in my entire life I genuinely can't believe this is a real song. Transylvania Blues is a great jam however, perfectly blanketed in the middle of the album when I was losing momentum, and it wasn't just because there were no vocals on it. There's definitely substance here but it's just kinda boring.

I like it, but it's definitely very empty. This album isn't anything essential by any means, but it scratched my brain for some reason. 10cc's kinda just dicking around for 40 minutes and everything is sticking. The weirdness that peaks in every song is strangely refreshing and it's a diddly listen. Each song is consistently interesting, blending all sorts of frazzled twists on genres. Enjoyable.

Master of Puppets is the best metal album of all time. It's not my favorite Metallica album, but it's objectively a perfect album. For the time that this came out, nothing on the planet was anything like it. This album is one of if not the most important progressive metal precursors. Master of Puppets exemplified that metal could be more than just fast guitar solos and heavy riffs- that the songwriting could be brought up to a new level with complex structures and layers of orchestrations played through guitars. Not only is this album absolutely groundbreaking, but it fucking rips.
James Hetfield on Master of Puppets at the time was something the world had never seen. The anger that shrieks through these vocal performances should absolutely be more recognized. Every lyric you can feel and visualize so vividly- it's just awing. His rhythm playing is ruthless, with some of Metallica’s fastest and definitely heaviest riffs being composed on this project.
This is also Cliff Burton's last studio performance before his tragic death in a fatal bus accident. Master of Puppets is Cliff's magnum opus, with his passion for classical music shining through the song orchestrations and his Lovecraftian lyrics. What his contributions to bass playing did is immeasurable. The complexity this album has in terms of songwriting is pure fucking genius and it cannot be understated what he added to the band.
Kirk Hammett is definitely at his peak on this album in terms of soloing. Every song features some of the best metal leads of all time, with not a single miss. You can really hear every member shining on this record at their fullest, and it’s just so infectious.
Hell, even Lars was a demon on this thing. His thrash drumming was perfect, and his double kick on the faster tunes absolutely rip.
It starts small and sinister with Battery's acoustic chords and suspenseful stacking harmonies. Then it just explodes like a volcano, introducing us into the madness that this album is about to unveil. I could make an argument and say that Battery is the greatest metal opening track of all time, if not one of the greatest openers of all time in general. It perfectly encapsulates the sheer amount of rage, complexity, and heaviness that this album is going to offer. Kirk's solo absolutely rips too.
The title track is probably one of the most influential songs on the planet. The amount of people that started playing guitar because of this song (me included) is definitely not a small number. This exact song showed that thrash metal could be expanded into something much larger. The middle section is one of the greatest bridges in existence. Hetfield's solo under that hypnotizing progression makes you wish it was an eternity. The harmonies organized as well that sandwich the solo are, in my opinion, the best harmonies in their catalog, which is saying a lot. The sheer amount of ruthless technique in this song's main riffs are insane too. Living in the universe at the same time as this song is a privilege.
The Thing That Should Not Be is another credit to Master of Puppets immeasurable influence on the metal genre. This dark D standard tune is one of the nastiest sludge/doom metal precursors. Kirk's solo sounds like a demonic dolphin in the creepiest way possible. The main riff is also one of Metallica's most underrated parts. The lyrics however, are some of my favorites in Metallica's catalog. The ominous, terrifying, and unimaginable depiction of a Lovecraft inspired monster is just so fucking cool.
Sanitarium at most points was my favorite Metallica song, just absolutely perfect from start to finish. The best thing about this track by a mile are the 4 solos. These 2 melodic and 2 shredfest leads are some of the greatest recorded metal performances of all time. Welcome Home is a beast that gradually builds and builds from a haunting ballad to a thrash chainsaw as the intensity of the riffs and solos rise. The clean riff is also one of the most hauntingly beautiful things I've ever heard. The lyrics are also killer.
Disposable Heroes by Metallica has the greatest lyrics of all time. The vivid description of a soldier’s traumatizing role in society is shrieked perfectly by Hetfield. The motif ingeniously screams "BACK TO THE FRONT" by a sergeant to a soldier, playing on words and symbolizing the intensity of how all soldiers are crafted the same, led into battle to die. The riffs on this thing are incredibly intense too. Kirk’s choice of modes on his solo show that he’s getting very involved on this record. At this point in the band’s history, every member was at their peak, and this song exemplifies that for sure.
Leper Messiah is an underrated gem. This is one of the nastiest songs in Metallica’s catalog, sinisterly depicting the corruption of finance in religion. Throughout the whole album, each song reinforces the themes of evil corrupting the oblivious, which just makes the entire listen very cohesive. The progressive aspects of this song are super sick, specifically the bridge section where the track transforms into this thrashfest.
Orion. God this song is a progressive metal masterpiece. It begins with these bass drones along with crescendoing drums pulsing as the track begins to build to the break in the main theme. This song is Cliff’s masterpiece, as you can see 3 bass solos throughout it as well as the incredible orchestrated nature of the harmonies. The middle section transcends you, immersing the sound in the sonics of the galaxy. Every solo taken, every riff chug, and every bend strung in this song is just written for the gods.
Lastly, the album closes with Damage Inc. This is the last song that features Cliff Burton in the studio, and what he begins the track with could not be more perfectly fitting. The bass swells sound like a horn’s call, or like a full orchestra performing together, even though it’s just a bass. Because Cliff could do those things. Metallica were on a completely different level of songwriting while constructing this project, and the mixing, performances, lyrics, and riffs just prove this.
Master of Puppets start to finish is perfect. Not a single second is wasted, and the effort and genius in the songwriting blows my mind. Not another album in history is anything like this. I hope Cliff knows how much the world loves his masterpiece.

This entire album is flawless New Wave. It's got the arrangements of 80s pop hits with the bizarre and strangeness of Duran Duran's originality. For a sophomore album, this is awesome. It's got the croon and emotion, but it also packs some super fun tracks. The record's production is slick and groovy, which when making New Wave, there's no other way. The bass playing on this album is also phenomenal. Every single song just consistently rips, whether it's a beautiful ballad or a speedy sax extravagant. This album is just so fun.

This album is simply okay. Some tracks feel a little empty and repetitive, but a good 70% has enough substance to never bore me. For the time, this is definitely not anything innovative. If anything, it's very underwhelming and basic given the technology available at the time. However the simple lyrics and great bass playing make this album very fun. Not to mention the sick ass album art, which I'm a big fan of. I just wish they amped up the ideas, for this being New Order's fifth album.

This entire record front to back is insane. The lyrics delivered by each Fugee member and all the guest appearances flow so well and complement the beats awesomely. Each instrumental is perfect, simple enough to allow the lyrics to be the forefront while also setting the vivid scene of the studio in the city. To elevate the entire album to a new level, Ms. Lauryn Hill not only performs some incredible rapping, but also some spine tingling singing. The vocal delivery on Killing Me Softly alone makes this album perfect, but every track is consistently up to par with it. Another thing to praise are the seamless transitions from song to song along with the immersive skits that add to the overall story. Ms. Lauryn Hills talent just explodes the entire album- it's absolutely infectious. Every single track is perfect with absolutely zero skips. And then the whole thing comes full circle with the ending finishing with the theme from the beginning. It's so good. My only complaint is that this project didn't happen again. The Score is an experience, and it's something i'm definitely returning to.

This album absolutely rips. Unfortunately the guitar solos are straight nonsense, and could be way better. The drumming is fucking insane, as well as the rest of the rhythm section. After a few minutes, this record is honestly funny to listen to due to the sheer insanity that's unfolding. In all seriousness, the music manages to stay consistent due to the great production and the constantly changing grooves every other section. This album is also way ahead of its time. Im blown away that this came out in 86. Another thing I love about this album is the sick ass artwork, like holy shit. The lyrics are also great too. Is it over the top? Absolutely. True heaviness comes from the space, and this album leaves none. But it's certainly fun, and not too long for me to care.

Ah my favorite 1001 albums genre, wishy washy britpop. Something about the guitar tone mixed with the ethereal and huge drum sound on these records just gets me every time, and I love it. The album cover greatly represents what i'm experiencing. The sonic quality sounds like a huge ocean surface as the sun peaks through the clouds. Every song is just a reverb soaked masterpiece that range from pop jingles to wall of sound epics. The vocal harmonies are exquisite and perfectly mesh with the mastering on the effects. Sure the album could be a couple songs shorter but the lyrics stay consistently interesting and the rhythm section goes pretty nuts to keep it fun. It's just so effortlessly beautiful.

This website has a knack for recommending one hit wonders and then knocking me out of the park with a surprise. Too Rye Aye was one of the most wacky listens I've heard on the list, and it sure never bored me start to finish. An aspect to dwell on first would be the interesting vocal approach, which surprisingly I really like. Kevin Rowland's yiddish style makes the album very entertaining, and it's very fitting for the material I'd say. Every song is packed with versatile instruments and orchestrations, sporting whimsy and silliness while also exploring emotional bridges to credit the genius of the band. Of course Come On Eileen is one of my favorite songs of all time, but these other tracks are 100% up to par with it. Essentially, it doesn't stick out awkwardly in quality which was what I expected the album to be like. The folky horn jams in the back of the album are also insane. This album could definitely be shorter, but it's never boring. Not my cup of tea to say but it was a fun listen.

This is definitely a very bizarre album. It starts out beautiful, with a genre that I've never heard before. Something about it just scratches my brain. The sleek production baffles me considering this came out in 1975. Something this album is a master of doing is making so much space feel so full, which I will thoroughly compliment. The first 3 tracks are all astonishing, with the simple waves of euphoria being just what I needed for a change of pace due to the other albums the list has been giving me. Unfortunately, the 4th and 6th songs feature some of the worst vocals I've heard in my entire life. The instrumentation remains awesome under them, making it almost bearable. It's just such a shame a perfect album was completely ruined by the worst possible performance. Other than the vocals, this shit's gas.

I really thought I was going to hate this album. Hot Dog is genuinely one of the worst songs I've ever heard in my entire life, and it was about to set the record up for failure. But after My Generation proceeded it, the whole thing did a 180 and blew me away. This album is so fucking good. Fred Durst is definitely an awful lyricist, but on some tracks there are some decent stuff. Something I do want to focus on is the incredible instrumentation. At the end of the day, this is a metal album, and holy shit does it rip. Some of these riffs are so nasty and the added FX from the rap aspects bring it to a new level. I was shocked when they started playing in 5/8 on Take a Look Around, which definitely added some brownie points to my prog ears. Bizkit's blend of metal and rap is just perfect. I also love the continuous announcer dude throughout the record, making it sound more cohesive. This album is also very consistent track for track with only 2 or 3 misses with the rest being absolute bangers. I thought the extensive runtime would make the music stale or repetitive, but each song really has something fun to offer the entire ride. The drum sound is great, Fred Durst's energy is infectious, I just really like this album way more than I thought.

Queens of the Stone Age's sound has definitely developed overtime. Being more familiar with their 2000s catalogue, this was definitely a surprising listen. Safe to say it's still absolutely awesome. The fuzzy bass driven riffs over the creative guitar parts are so nasty. Unfortunately the drum parts and the vocals are a bit too stale throughout the album for my engagement. The lyrics from the start were always on par however, with the Queens of the Stone Age sexiness and danger seen from track one. You can begin to hear their future sound breaking through on some tracks, which make the record still very fun like The Bronze, Mexicola, and Spiders and Vinegaroons. I see why they added the new tracks on the deluxe version, while half the bonuses are bangers the other are standard 90s secret tracks. It's a pretty typical debut and they're still definitely finding their footing, but it still rips in many ways.

This isn't the most groundbreaking thing i've ever heard, but it's nothing short of great. It's just lush 70s pop by one of the greatest songwriters of all time. Of course all the Beatles shine the most when they're together, but John has some beautiful personal work.