Reviews by autro

This album makes me so happy. I don't know what this dude is talking about but I lowk get it. This record is like a Sunday afternoon, and the singer supports it by delivering a happy but calm tone about Sunday things. Great combination of incorporating both electric and acoustic guitars throughout the album as well. Sure it's basic, but its simplicity brings immersiveness and tones that make the album cruise by. It gets less and less fun throughout however, and some songs sound very formulaic.

This Radiohead album probably took me the longest to like, but when I finally understood it, it hit me like an icy hug. It's tough because individually track for track, Kid A is not very good. But as a collective project, it serves as an absolute staple in the electronic rock genre. What it stands for (at least for me) is a beautiful depiction of alienation and paranoia. The emotion it spews gives vibes of comfort, like everything is falling apart yet everything is going to be all right. The transitions are also so underrated on some tracks. What I'd say the biggest flaw is how long the tracks tend to drag, especially Idioteque, National Anthem, and Optimistic. The beginning and ending songs however are top 10 opening and closing tracks of all time contenders. Holy shit not only are these songs exquisitely constructed, but the placement of the tense bouncy synths that the opener shoots at you right away, and the gorgeous eruption that closes the record are just so perfectly placed. Great album as a whole, little iffy track for track, but I really like the CD case.

The songs are fun, but the actual material isn't anything crazy. There's a couple of great songs but you can clearly tell that there was a formula and it gets pretty old after 4 tracks. In a strange way I love Dexter Holland's vocals. I really like the commentary dude throughout the album too because it interrupts the formulaic drone that this album can feel like. It makes the album feel more like an album to say the least. Maybe I just wasn't in the mood when I listened, but this album didn't reach me like some of its similar kind like Dookie. It's very entertaining, but in one sitting, the 4 powerchord tracks without any riffs or interesting composition can get boring. It's The Offspring, so of course the lyrical content is gonna be stupidly good, but a couple songs are pretty much about the exact same thing. But then the closing track kicks in, and it shows me that these guys are definitely capable of more. The title-track is a banger, and with the secret song at the end bringing back the Smash theme makes the album feel complete full circle. Can't get any more 90s than this. Just wish they got more creative.

This album is super weird. Instrumentals make up the better half of the album that just loop constantly, and then just go into another instrumental. The actual tracks themselves are great, but there's just so few that are just sequenced in the funkiest order. It's an odd direction for the Beastie Boys to go, and during my listen I was completely confused and just wanted to turn on Paul's Boutique.

This album is long, a little too long for its own good. It took me about 4 or 5 different listening session for me to finish, which I've never done before because I lock in on one go. This album requires stamina. The bass is ridiculously good, and I can 100% listen to this shit for forever. The guitar is cooking too. But every single track, none be spared, are way too long. I understand it's a live psychedelic jam for hippies in zen tripping for the albums duration, but I was only smoking marijuana these scattered listens, so it droned on recognizably forever. The substance feels like the cool ass parts of the ocean, so many points are given for its extreme subversiveness. I do really like it.

This album is very simplistic, but in a refreshing way. I absolutely love the fact that they recorded it in nature to give it such an immersive and natural effect. Each song starts out extremely engaging, but kinda goes on a little too long every time, making them feel empty in the end. Beautiful content though.

Whether you like it or not, this is an ALBUM. Its got a mystic opener that sets up the soft jazz pop with a strange violin arrangement that quickly swells in a swooning orchestra. The album is actually paced perfectly with cohesive themes while taking lots of vocal inspiration from singers like Thom Yorke. And then it ends with a cinematic closer to tie it all in. The songwriting is just outstanding, with the progressions and different instruments keeping it engaging. Some songs seem to feel bare and focus on just the vocals, but I appreciate the variety. The immersion of the 'show' theming makes the album feel so connected and a bigger piece of work outside each individual song. The lyrics are pure art as well. What a great album.

I don't mess with Fred Schnider's vocals, which is my main dislike about the album as a whole. There's a lot of potential here but it's delivered in such an empty and unfinished way, that the whole record sounds cartoony and bare. Most songs run way too long for their own good, and just keep repeating the same ideas. I don't get the B-52s fuss whatsoever, but I still mess with some songs on side B to an extent. I just wish they could flesh out more ideas into a song to keep it engaging. The female vocalists are out of this world though.

Gorgeous folk rock album. It's got softer acoustic elements, harder rock tracks, and everything in between. The vocal delivery is outstanding, truly underrated singer of the decade. The bass too is criminally underrated as a performance, being melodically prominent in most songs. The spotlight of the drums in terms of fills and solos are super fun too, sporting a perfect backdrop to the adventurous but laid back record. It just needs to pack a little more flair and explosion.

What an energy packed album. While most live records capture the spontaneity of improvisation, One Night Stand documents the pure power of soul going through the venue. It's heard in the band, the crowd, and most importantly, the legendary Sam Cooke. Never has a live album been recorded to sound like I'm in the venue and the music is being shot at me like this record. It's got emotion, it's got hard thumping blues, and it's got soul.

Absolute essential indie rock. This album definitely shows the pop side of the genre more, however the more rock oriented songs are the better tracks. While Sam's town is a million miles better, Hot Fuss still has some great music that engrains itself as timeless 2000's indie forever.

This is great hip-hop record with lots of musical diversity. The album explores African-American conflict coming from violence within the community, and the lyrical delivery and flow is fantastic. Every emcee expresses the issues while sporting the incredible instrumentals as well. The final track with Antharax was absolutely insane as well. Good Stuff.

For Morrisey being one of the most insufferable vocalists I've ever heard, he's not too bad on this album. The growls he does on the first few tracks are pretty unique. Nothing crazy stands out behind any of the songs, but it's not to say Strangeways is a great pop record.

Beautiful soul masterclass. Every track was filled with heart and passion, the pure spirit of love exploding. Wonderful vocal deliveries, instrumentals, and the flow was indescribable.

This album was insane. Pure rage and energy is packed into every single second of this record except when the interludes let the heaviness breathe for a minute as it supplies acoustic jams with sick angsty chords, still rooting the metal writing. The vocals sound like chalk scraping on concrete, which I fucking love. The ridiculous consistency comes with tribal chants that weave throughout the album making the whole experience immersive. This record really kicks in my neanderthal instincts, forcing me to return to my caveman attraction towards this S-tier metal.

I was hesitant going in, but the mesmerizing guitars are just too good. They consistently make the entire album for me and I just absolutely adore the melodies they swirl all throughout. One thing that turns me off about Brit-Pop are the nauseous vocals, but Brett Anderson doesn't go too over the top and delivers some insanely catchy performances. The record is incredibly consistent, and I just adore the songwriting and individual tracks in every aspect. Zero skips and an absolute beauty of an album in its entirety.

Great big band work. I love that the album gave a variety of high tempo, crazy energy charts, while slow, emotional, and beautiful ballads were chronologically paced along the record wonderfully.

The Velvet Underground will forever be that band that people like because it's "different" or "groundbreaking." It's straight ass. It's so fucking garbage. I wanna blow my fucking ears in after hearing the first few songs on the album. It actually hurts my ears. Straight brainless noise, and pretentious people can't convince me it's good or purposeful like genuinely shut the fuck up. Silver Ray's alright but it's still unnecessarily long like we get it. The opening track isn't too bad, but the rest of the album is completely unbearable. This is probably the worst album I've ever heard.

As an extreme Jeff Buckley fan, I went into this not knowing what to expect. I was absolutely impressed with this family's talent, and I see why the industry held Jeff to such high expectations. The psychedelic folk combined with Tim's striking poetry pulls your strings as the record explores different themes and instruments. The use of slide guitar on this record is fantastic, and his vocal ability accompanies the music brilliantly. Every track stands out and exemplifies the gorgeous talent of Buckley. At times the lyrics can become a little pretentious, and the title track specifically seemed a little unconventional than the others with the way it seemed to end multiple times while the song kept going. But overall it's a beautiful album.

This record is incredible. Every single track flows perfectly from one to the next, making the project feel huge and connected. The individual tracks stand out absurdly, with hits and deep cuts scoring all 10s keeping the album consistent. The instrumentals are massive and engaging, making the whole album incredibly hooky. This record is absurdly gas, and completely breaks through the wall of the entire hip-hop scene, waymaking for the entire decade and the future of the genre's potential. This isn't just an album, it's a cinematic monument and experience of music.