Reviews by funny_character

I am *intimately* familiar with this album. I've heard it like dozens of times, perhaps for the worst, but still. I understand the scope, and the narrative ambition of The Wall, but I honestly have some problems with it. But it is still a really great album. The narrative of the album chronicles a rock-star as he shuts himself off from the world due to a trauma and the ensuing process of escaping this "wall". The narrative is pretty compelling and, most impressively, can be more or less pulled out of the music in-tact. I will say that it kind of ends up feeling a *little* like an ego project, but it is definitely more than that. The songs themselves are pretty great across this whole project. But at the length that The Wall is, there are a few tracks that feel like filler. But that may come with the theatrical territory. Speaking of which: one small underlying problem for this whole project is that I just prefer spacier Floyd, and just don't think these theatrical elements are always able to fill the gap there. Although Another Brick In The Wall 2, and Comfortably Numb are some of Pink Floyd's greatest songs. I like this album more than it sounds like, The Wall is an achievement, but I just have some problems with it that keep it from being quite up with my favorite Floyd.

To me, Dire Straits are usually just kind of boring. They have a pop rock sound and, on Brothers In Arms, some vaguely 80's production. And on some level, it's too bad, because I *do* think that Mark Knopfler is a cool guitarist. Although, a lot of his high skill and cool phrasing techniques just seem to end up in the middle of decent rock songs that don't grab me. I will say that the riff on Money For Nothing is cool, but I don't love the melodies of that song, and I don't think it needs to be like 9 minutes long. The Man's Too Strong is also decent, But honestly, my favorite song is the title track at the very end. It feels like after nearly 50 minutes of dad rock, the veil is lifted a little bit and it feels like a moment of real beauty and vulnerability. The 80's sound works well, the guitar is super dynamic, and the vocals feel pretty genuinely vulnerable. That being said, aside from these, I don't really get much from this album. There are neat moments throughout, but a lot of these songs are overlong, I don't think the sound has aged well, and I don't really like the songs as they are written. There's enough to save Dire Straits from the 1/5, but I didn't really get much out of this.

I will admit that this may be one of my more generous 5s, and it has a little to do with the best Roots album not being on here (as far as I know), but I do still stand by it. There are other affiliates, but the core of The Roots is the dynamic between Questlove and Black Thought, and it works unbelievably well. A lot of rap albums from the early 2000s sound pretty dated by this point, and a lot of the more "conscious" of these albums even more so, but Phrenology still sounds improbably fresh. It really comes down to two things. Firstly, the beats on here are all live percussion, courtesy of Questlove, and it gives this entire album an organic feel that has kept the beats from getting stiff or clunky with age. And second, Black Thought is *so* fucking good at rapping. He operates at an incredibly high level, and more importantly sounds completely natural while doing it. He raps with words like "sovereign" and "tantric" with the casualness that most people discuss the weather. He constantly sounds natural on the beats, he just gets into a pocket and rides it. And his flow is good enough that even on a first listen, before I've completely digested what he's saying, he's compelling to listen to. Throw other talented features in here and deliver great songs for over an hour, and its hard to go wrong. If you're usually not convinced by rap, check out Water, his storytelling is fantastic and the song takes some really adventurous turns in the second half. This is just amazing rap music that has barely aged a day, and even if this isn't Things Fall Apart, it's pretty jaw dropping in its own right.

I saw a bunch of people claiming that this sounds like Radiohead, but honestly, it's kind of just English indie rock with a moody palette. I guess there are a couple of melodies that remind me of The Bends, but that's it. Anyways, The Seldom Seen Kid is fine. The songs are varied, reasonably well written, and pretty detailed. Although, it has something a little theatrical about it that usually comes across as cheesy. And I don't think it has an incredibly strong unified identity. The performances are also a mixed bag. Also, for being enjoyable enough, The Seldom seen Kid is also inessential. It has also not aged particularly well, and I don't see it getting more interesting as time goes on. Elbow feels like a band that had a moment, but are now cursed to live within it. But for all the negative things I have to say about this, I can still put on most of these songs and say "yeah, that's pretty neat", which does carry Elbow into a 3.

I got to see, in real time, the cultural shift which made Loveless (and shoegaze at large) go from music for only the most far gone of Pitchfork readers to the soundtrack of Gen Z music nerds' specific type of ennui. And honestly, it kind of makes sense. This album has a really particular emotional palette. The guitars straddle the line between euphoric and crushing, the melodies are pleasant, and almost hopeful, but the vocals are small and despondent. The result is an album that makes you feel like you're in a dream, having an overwhelming sensory experience. And I can see how people connect so closely to it, especially considering that these songs are ultimately pretty approachable pop on a structural level. But I don't quite connect as closely here as the true believers. And it ultimately comes down to the writing I think. I don't think that, on a writing level, any of these songs are really fantastic (with the exception of When You Sleep, which is very well written). But ultimately this is an "aesthetics" album, so I can let it get away with some of this. But where I think Loveless succeeds most is in it's guitar playing. Loveless' guitar tone and playing style is kind of a generational accomplishment in guitar music. Kevin Shields did basically reinvent the guitar on Loveless, and I don't think anyone has really replicated it. The playing is so textural and so deeply abstract that the melodies sound like they were carved out of a wall of sound, rather than played. Although, there are still melodies that kind of emerge; it's abstract, but not formless. And I think it really is ingenious, and unique. Even if I don't think this is really a perfect album, I do really appreciate the soundscapes here and admire the construction. I just can't quite connect on as deep a level as some people, mostly due to the songwriting. That being said, I am also the kind of person more built for My Bloody Valentine's live show than their albums. I want my noisy music to really hurt. So basically, I'm not ruling out the possibility of this becoming a 5 if I'm ever able to hear it at irresponsibly, *truly* dangerously high volumes.

Kate Bush is one of the few artists who have managed to leverage 80's aesthetics in a way that I really enjoy. The reverb and the synths and all the other 80's isms are used to create a dreamlike atmosphere that elevates what would have already been excellent pop songs. The 5 songs on side 1 are all pretty much pop perfection, I can barely pull out favorites. Not to even mention Kate Bush's powerful, unique vocal presence. If this album was just perfect pop songs, that would be one thing, but side B really shows just how ambitious and daring Kate Bush really was here. Side B is all loosely interconnected mood pieces and experimental songs. Under Ice is almost eerie, the tape effects on Waking The Witch almost sound like early glitch music (it's kind of shocking), and Hello Earth is just floaty and gorgeous. Although, what I think really epitomizes why this album is a 5 for me is Jig Of Life. The idea behind Jig Of Life, as like an Irish folk song or something out of absolutely nowhere is, on paper, just straight up bad. But the execution and the vision of Hounds Of Love is so strong, that Jig Of Life is just as emotionally complex, and nuanced as anything else on here, without any real cheesiness. It's as though Kate Bush is operating on such a high level that she simply willed it into being a good song. And that is a hell of an accomplishment. Hounds Of Love is beautiful and compelling, and nearly perfect. And I cannot praise it enough.

This is one of the relatively few albums on here that I truly knew *nothing* about going in. It's also one of my favorite albums I knew absolutely nothing about. For some reason, I started listening without reading anything, and during the listening, I honestly wasn't even entirely sure what genre of music this would be considered. But I did get some research done, and it has helped a little. Ali Farka Touré is from Mali, and this album is considered Malian folk music. Although, it really seems like a couple of these songs are also blues inspired, but I do not know if that's actually true. Also, the other artist credited on the front is Ry Cooder, who it turns out has extensive history playing guitar with celebrated musicians.
Anyways, Talking Timbuktu is really good. The songs here are largely on the lengthier side, and they use their time well. This album has a great atmosphere, and the compositions themselves are repetitive but extremely detailed. It almost feels like jam music in a way. I don't fully understand who's doing what here, but I get the sense that chemistry is extremely important. Talking Timbuktu ends up really immersive and transportative, and enjoyable to listen to. I don't feel particularly qualified to really break this one down, but I did thoroughly enjoy myself regardless.

Thundercat is cool; Drunk is cool. Thundercat is kind of reinventing soul and funk in his own, deeply idiosyncratic way. Drunk is utterly steeped in prog and Afrofuturism. It's music that's looking to the past but still forging bravely ahead. And it sounds incredibly unique. The basslines are all texture, Thundercat makes his instrument of choice bubble, slither, and spider along. The jazz chords and key changes are dizzying. And when the percussion is there, it brings something frantic to the mix. Sometimes, it really does feel like the album *is* drunk. What Thundercat is doing sounds truly unique. His personality comes out very strongly in his writing and vocals as well. He's funny, thoughtful and smart. The few features are good too. I will say that every once in a while, things get a little more tongue in cheek than I'd like. I also think the last few songs are a little low on energy. And, I just don't really like Tokyo, it's just a little much. But this album is still creative, and brisk and smartly written. And I thoroughly enjoyed my time with it.

It Takes A Nation Of Millions To Hold Us Back is a vital piece of rap history. Chuck D and Flavor Flav are both fantastic presences here. The energy is high, the lyrics are smart, and the flows are creative. There is a lot that holds up really well. But, as this is a hip-hop album from before 1990, it does wear its age very blatantly. Which is not necessarily a bad thing, but it's kind of unavoidable. This age mostly comes out in the beats. On one hand, this album has a really incredible sampling palette. There is really cool implementation of jagged guitar and dentist drill synths and implacable noise. I think one of the songs where it comes together best is She Watch Channel Zero?! which is built around a Slayer riff. It has tons of texture, and still sounds fresh. And a lot of songs here have great texture and a good feel, so I can certainly appreciate the construction. But when I actually sit down with the whole album, I just don't find myself that into the sound of it all. That being said, the rapping here is amazing, which does a lot for the album. So I'd say it all evens out to be about a 4 for me.

This is another one I don't have a ton to say for. CCR are one of the few bands who put on the blues rock aesthetic in a really convincing way. And Bayou Country is honestly played pretty straight. This is basically the theme upon which Cosmo's Factory is a variation. This is basically just 33 minutes worth of swaggering, hard hitting blues rock. CCR has great performances, great songs, and they really sell the aesthetic. Born On The Bayou is great, Graveyard Train is too. And Keep On Chooglin' captures a slightly jammier form of the band that they wear well. But I do like every song. I do slightly prefer Cosmo's Factory to Bayou Country, but either way, Creedence has *it*. And whatever *it* is, it's enough to sell me on 60's blues rock.

I don't have a ton to say about Homework: but that's very much by design. This is music made for clubs and boiler-room raves: not exactly settings where you are standing around contemplating the elements of these songs. Homework is an album that wants to be felt, and I believe it succeeds in this endeavor. On the surface these songs almost just feel like slowly evolving loops more than proper compositions, but I think this is part of the magic trick here. These songs are repetitive, but they are meticulously engineered around deceptively simple, but utterly infectious grooves that have the power to keep you moving constantly. The palettes here are bouncy drums, creative vox, rubber basslines, and disco-y synth melodies (the sort that Daft Punk would delve deeper into later). I will say that Homework sticks a little too close to the form factor of house music for it to have the same pop crossover appeal of their later projects, but if you love dance music on any level, this is an easy album to enjoy. And, honestly, if you're dance curious, Daft Punk's approach to melody and structure here is relatively approachable, and a good step into the genre. I think there are a couple of weaker songs here, and I also think Homework is easily overshadowed by later Daft Punk albums, but Homework is still incredibly enjoyable, creative, and surprisingly detailed. The album easily stands as a great independent piece in Daft Punk's discography.

This is a really weird QOTSA pick in my opinion. Admittedly, Era Vulgaris was too. I don't know why this list is allergic to Songs For The Deaf. It admittedly feels like a basic pick, but also it's just really fucking good. The self titled here *is* a good stoner rock album, but it's also in the weird position where it's worse than most of the material from Josh Homme's previous band, Kyuss (who are stoner rock royalty), but also less well developed than pretty much any QOTSA album afterwards. At this point in time, QOTSA still haven't fully developed their songwriting nuance, melodic sensibilities, or aesthetic. But, the self-titled here *does* rock pretty hard, and that is important. When this album just flexes its muscles, you get some pretty fantastic rock music. Like on Mexicola, the bass grinds under surprisingly nimble riffs, and the whole song is an exhilarating slug fest. Avon, Walkin On The Sidewalks, and others also bang pretty hard. Aside from that, the weirder moments are a little hit or miss. Hispanic Impressions, These Aren't The Droids You're Looking For, and Spiders and Vinegaroons are a little under-written. But on some songs, when QOTSA step back from the riffs a little, they leave room for some cool melodicism. Even though I am inclined towards the sound here, I have to admit this is an album with lots of flaws that QOTSA would later grow out of. While I did enjoy this, I can't go higher than a 3.

With the exception of the oft discussed title track, Station To Station is an album that is generally more well known for what it represents in Bowie's career than for its music. Station To Station is Bowie's only album released in his Thin White Duke era. Which is to say that this was Bowie's controversial "mountains of cocaine, and fascism" period. At this time, he was so far gone it feels kind of amazing that Bowie managed to release an album as great as Station To Station. A real, distinct mania runs through Station To Station, which isn't all that surprising, when considering the circumstances. It's one of the things that separates this album from Bowie's discography at large, and it gives the album a real "dance until you collapse" kind of vibe. The album is just 6 songs, 3 are essential Bowie and the other 3 are between good and very good. The title track is a microcosm of what's going on here. We see Bowie extending his sound closer to where The Berlin trilogy would pick up over the course of 10 minutes. The construction is pretty immaculate for just how fevered he sounds: this is probably the best song on the album. Word On A Wing is similarly fevered and worth reading about a little. It works great on its own, but Bowie's motivation for writing this song puts into perspective just how bad things were. And while I don't want to romanticize this sort of behavior, I do think knowing what was going on with Bowie at this time is kind of essential to getting to the bottom of this album. The last essential here is his cover of Wild Is The Wind, recorded as a tribute to Nina Simone. And it is one of the purest moments of beauty on Station To Station. And it keeps the album from ending on an entirely dour note. As far as the other three songs go, I still really like Stay, and enjoy Golden Years. But I am a little bit more ambivalent towards TVC15. That being said, my complaints with this album are mostly within the context of Bowie's broader discography. This is a remarkable, slightly harrowing whole. And it is, as a whole, essential to understanding the arc of Bowie's life on some level.

I think It's maybe like 8 years too late, as far as my life goes, for me to really fall in love with this album. Just as far as my musical taste goes, we're not exactly starting in a great place here. This is a combination of pop punk and musical theater, which takes itself *very* seriously. Additionally, the message here is really intended to resonate with people who, are like a decade younger than I am now. And the path America has taken since this came out honestly makes some of the messaging feel dated, or even detached. I understand this is about generational aimlessness and how cruelty lives quietly (or sometimes very loudly) in traditional American cultural values. Which I think is an admirable enough thing to dial in on. But it also feels like Green Day really thinks they can save American society with pop punk, and today that just feels really naive and self important. Additionally, a friend of mine holds that making a Broadway musical out of your album instantly obliterates your punk credentials regardless of who you are, and I can't agree more. But regardless of my complaints with the concept and execution of this album, it does get out a couple of pretty great songs. My favorite song here is Holiday, which is just driven by a fantastic bassline in the punk tradition. I also like St. Jimmy, and Letterbomb, which just work as great pop punk songs. I think Wake Me Up When September Ends is good too, mostly for it's earnestness. I'd also like to shout out *parts* of Jesus of Suburbia, and at least acknowledge that American Idiot is a particularly catchy song, even if I don't particularly like it. But, as this album is sequenced, Holiday, St. Jimmy, and Letterbomb are all tacked inseparably onto other songs that I don't really like (including Boulevard of Broken Dreams). Holiday plays first, so it's not as big of a deal there, but if you just want to listen to Letterbomb or St. Jimmy, I have to either sit through a song I don't really like, or like skip around. And I understand that this has been changed on some re-releases of the album, but it was obviously an intentional decision when this came out. I'm reviewing American Idiot, not American Idiot (20th Anniversary Deluxe Edition). Although, just on principle, I think Homecoming is the weakest track here. Jesus Of Suburbia is an epic that works on this album, it's multi-phased and it isn't too ingrained into the plot of the album that it does just work as a song. But when I listen to Homecoming, it actually feels like I'm missing something without watching the musical, or reading the liner notes or something. It's too tied to the narrative that it doesn't feel like I'm getting a complete experience without checking out another, related piece of media. I think, within this context, that constitutes a failure of songwriting. I don't really hate this album, a lot of the *bad* songs are more inoffensive, and there are highlights. But I found that the concept and execution here took more away from the album than it added to it. I understand why this is important to people, but it will never be for me.

This was kind of sold to me as The Beach Boys' sad album, but I think that aspect made have been a little oversold. That being said, at its best, Surfs Up *does* capture some of the strung out darkness underscoring the psychedelic movement. Don't Go Near The Water, 'Til I Die, and Surfs Up feel less like marmalade skies and more like sinking helplessly. But, at the same time, there are a lot of songs here I don't find nearly as memorable. Feel Flows, Lookin' At Tomorrow, and A Day In The Life Of A Tree did not leave nearly as strong an impression on me, even though they are similarly well crafted. Also, I liked Student Demonstration Time, but it does kind of come out of nowhere. On the other hand, a somg that doesn't quite fit the vibe that I liked a lot is Take A Load Off Your Feet, which has some really cool soundscape work. Overall, I enjoyed Surfs Up as a whole, but it kind of feels like it's being carried by a few extremely strong songs, but the other ones aren't necessarily taking a ton away from the whole. I'm feeling middle of the road overall.

I'm someone who's a little skeptical of The Stones. Through this list I've heard their debut, which was mostly R&B covers that I thought were whatever. And I've heard Exile On Main Street, which had a couple of excellent songs, but otherwise it felt like The Stones wanted me to think they were from New Orleans badly enough that it was distracting. This catches The Stones at a point where they still had a base of British Pop-Rock, but they were clearly drifting towards blusier waters. And I think this is my favorite of the three. Full disclosure: I know the UK edition is pictured here, but I listened to the US version. Firstly, Paint It Black is one of my favorite Stones songs. Second, the tighter track-list, which removes some bloat gives the full picture a better chance with me. I think this was a good call. Paint It Black is definitely still my favorite song here. There's basically nothing like it: its basically a jangly, South Asian inspired proto-punk song. It's dark and mysterious and weirder than it gets credit for, and I dont know how The Stones managed to write it in a vacuum. Even if I dont think they can top Paint It Black, the other songs here are still good. The melodies on Stupid Girl and the xylophone on Under My Thumb are the first things I've heard that finally make the Beatles comparison make sense. Donghae Bother Me, Flight 505, and High and Dry are really great blues rock songs. And Going Home is really brought to life by its fevered performances: it makes for an awfully brisk 11 minutes. I dont think every song here is this exciting, but enough are that I enjoyed this pretty thoroughly. I will also say, I find a lot of the lyrics here compelling, but they are frequently *so* bitter that they are completely unrelatable. This does make the album more interesting, but it also isn't a *great* look, so it may call this factor neutral. Will I eventually make it all the way on The Rolling Stones? Maybe. We'll see.

It's weird seeing people complain on here about the vaguely threatening title of this album, especially since it makes sense when contextualuzed by the vaguely threatening artwork and abstractly eerie music. In fact, I'd actually argue that it helps put a face to the album a little and paints the music in a light that makes it feel creepier than it would have, I think in a good way. Boards of Canada are working in a more ambient nook of the IDM space. The songs are built around strange, jittery percussion, chilling, disembodied samples, and what sounds like really creative analog synthesis. And even though this is some abstract, occasionally formless music: the textures still feel fresh and compelling, and the compositions jump past background music, almost putting you in a trance. Music Has The Right To Children is an album you can really fall into, and it truly urges you to explore its alien landscapes. I do think Boards of Canada topped this eventually, and there are some shorter songs here that you don't really go back to. But the full album listening experience is super unique and is an example of how Boards of Canada can wield very abstract elements to great emotional effect.

This is a very interesting album, but it is just a "good" listen. Nitin Sawhney is also a very interesting artist. He seems to kind of operate as a composer in a contemporary classical tradition, but with a distinctly electronic slant. He also makes a lot of music about his cultural identity, colonialism, and here, nuclear weapons. Beyond Skin is in kind of a trip hop/down tempo/drum n bass space. And it wears these genres well. Beyond Skin doesn't take the genre core anywhere completely unexplored (as far as I know), but the consistent usage of Indian music across this album does give it a distinct, and unique flavor. And, every once in a while, a song is built around a truly *fascinating* sample. For example, choosing to build The Conference around *that* vocal sample is an unbelievably brave move. Additionally, the compositions here skew towards the minimalist end of their genres. It makes these songs feel very intentionally constructed and nocturnal. I also want to award points for ambition. This is a concept album about nuclear weapons, told backwards, in a genre that is very minimally focused on lyrics. This is another very brave move. Nitin Sawhney doesn't cheat a whole bunch either. A few samples of speeches get you into the right place, but a lot of the concept here is told through mood, and pure composition. In short, the mechanisms going on here are extremely interesting. However, as a listening experience, I think it's the sort of thing that I appreciate most as just something I can put on in the background of another activity. Which isn't to say this is boring, I do think the songs here are good, but they don't end up really enrapturing me the way some other stuff in this genre space does. Overall, this is a well-executed, interesting concept, and a pretty decent listening experience.

I'm pretty sure In Rainbows is now the go to for "best Radiohead album" which is an interesting paradigm change from when I first looked into the band. Although, it does kind of make sense. In Rainbows is Radiohead's return to warmth after a bunch of increasingly abstract music (and the fiery, political Hail To Thhe Thief). The palette is more "rock", but some of the really abstract compositional elements from stuff like Kid A is still here, and the result is an album that has a dreamlike element to it. I think In Rainbows is also probably the most accessible Radiohead album for people who don't like Brit-pop. Anyways, In Rainbows is not my favorite Radiohead album, and I don't think it's perfect. But the strength of the writing here is undeniable, and there are a few moments of *jawdropping* beauty. My biggest issue is a matter of preference really: songs like 15 Step, Bodysnatchers (to a lesser extent), and Weird Fishes/Arpeggi are daring combinations of rock and electronic that advance the band's sound in a cool way, but this half rock, half techno pocket is also just not my favorite mode to hear Radiohead in. Aside from that, I'm not always down for House Of Cards, but it is a good song. My favorite songs here are the ones that really embrace just escalating, ascending beauty. Nude, All I Need, and Videotape are lifechanging, and absolutely perfect. And on the other side of things, the rock songs here I truly love are Reckoner and Jigsaw Falling Into Place. Reckoner has incredible, Rattling Percussion, and gorgeous vocals. And Jigsaw Falling into place puts Thom Yorke's Pynchon-esque fascination with paranoia at the front and center, selling it with a super tense structure and spidery arpeggios. At the end of the day, it's albums like this that make me wish this website had a 4.5, just like Sgt. Pepper. I don't think this is quite perfect, but it is fantastic, and really deserves more than a 4. That being said, there is an appreciable gap between this and my favorite Radiohead albums, so to illustrate that, I am going to give this a 4.

I must admit that I kind of struggle to care about pre-Rubber Soul Beatles albums. That being said, A Hard Day's Night is definitely one of the best pre-Rubber Soul Beatles albums. But I was not someone who was raised on The Beatles, and these songs do not live in my DNA, like they seem to for so many. So when I hear A Hard Day's Night, I can really just hear a collection of good songs. I understand that The Beatles were doing groundbreaking stuff in pop music, but as someone who did not live through it, I just don't love these songs enough to force myself to mentally travel to 1964 in order to justify a 5 star rating. And even if it wasn't exactly the same sort of music, people were making great, groundbreaking stuff before The Beatles. It's just that if I say that I think The Shape of Jazz To Come or something like that was a greater musical leap forward, I sound like a lunatic because an entire Earth's worth of music listeners happened to disagree, which then causes the Beatles to win the culture war that was never really happening. But at the same time, I do understand how incredible it was that the most popular band on Earth insisted on consistently evolving their sound, all while retaining their status as the most popular band on Earth. Anyways, I digress: as I said, this is a very consistent collection of good pop songs. They're brisk, catchy, and musically distinct. They're also all originals, which was unique for the time. There really isn't anything bad here, but at the same time, there isn't anything that truly penetrates my cold, callous, Beatles-Skeptic heart enough to make me regularly revisit this. There are Beatles albums I truly love, but this era just doesn't work for me the way it seems to work for so many.