Reviews by giddy

This is a lot to take in, but at the same time I can ground this album a lot by saying All Things Must Pass has a rival in "last few songs really weren't needed on the main release, dudes." Rest of the album was okay, but the main 1001 had a better showcase for Krautrock. Just need someone to add Ege Bamyası, thanks.

Hey, that was a good bit of blues rock! Was expecting boring and was pleasantly surprised by some interesting chord progressions and an overall more adventurous aesthetic than I'm used to with the genre. Neat!

I bet this album would be really great performed in its entirety at a club or festival. Instead, it's just okay as an album, with a lot of great ideas, but suffers from the whole "early 2010s" of it all.

It truly is disturbing to me that this album has such a low average rating when it is the absolute pinnacle of death metal as a genre, with just enough hints of thrash and progressive metal to create a truly fantastic piece of musicianship, and while I'm sure vocally it is challenging at first for the unprepared, Chuck Schuldiner truly put his all into making each part of his performance on this album feel unwavering. It is one of THE metal albums, and to see that 2.7 is saddening, but I suppose vaguely expected from the group of people that have Metallica's black album a whole point above.

I don't think I like Tool? Or at the very least, this album. Which is weird, because most of my life I've thought "yeah, Tool is good," but I've never listened to much outside of Schism, and I never really wanted to. But today marks a start into another controversial opinion of mine, because I find this album to be overly long, somewhat full of itself, and rarely kind of gross. I get what it's going for, and I can see the start of that more progressive metal sound leaking through, but this album shares more DNA with acts I couldn't care less about than anything interesting. I already know almost the rest of their discography is in the user albums, so that'll be fun, but maybe it'll make me see something in them as we go on. But this one is a bit of a stinker.

This sure is.

Talking Heads is one of my favorite bands of all time, but I try to avoid their personal lives when it comes to their band because it really sours the reputation of all involved. They are certainly not the worst rock stars out there personality wise, but it can be rough. Luckily, their fantastic music and eccentric personalities always shined first and foremost. Not here, though. This album puts their inner turmoil front and center, making it known to the listener that David Byrne is NOT here, and they don't need him. But frankly, after listening to the whole, nearly hour long experience, it is pretty obvious that the group still needs their talker. There are slight bits of funk, but the whole album screams 90s identity crisis, and while some features make the band their own, looking at you Andy, others sound so off here you question how the connection even came to be. The whole album is needlessly angsty, and while there are some great moments (hi again, Andy) there is enough here to definitively say this isn't Talking Heads showing they don't need Byrne, but instead exactly showing why they had him in the first place. Without the context the album is okay, but with it this album is just a spiral of emotions in one mixed bag of a record. 2.5, rounding up to a 3 star.

Really like these kinds of monotone vocals, and I was actually kind of sad when he would go for something more akin to the Darkness of all things. The punkier stuff was way better than the rock heavy stuff, but the whole album was objectively just okay, but I personally quite enjoyed my time. Nice to have a shorter album, and there are some bangers on here.

Knew Untrust Us from... uh... I actually don't know, but I was excited for the rest of the album, and I'd say it mostly delivered? I think by the end of the album a lot of the songs were coming off relatively meaningless and repetitive, but I'd say the front half of the album is good enough to make up for it. Just may need some more manic energy to thoroughly enjoy this one, but still, of course, very good.

I really like the guitar in this, its space-y, its fuzzy, and it has this other-wordly feel that can really put you in a certain mood. However, I get pulled out of all of that instantly by most of the singer's choices vocally, with it all sounding a bit too whiney at points, like he's about to break out into singing like one of those nasally mainstream emo voices, and it is a really unsatisfying listen because of this. Sometimes it works, like the biggest track, Stars, but otherwise I feel it just is a record with a lot of wasted potential, with a good atmosphere, but not enough holding it up with the other shoegaze, post-hardcore greats.

My main takeaway here is I could of wish the main vocalist would chill it on the screeching more often. I don't mind a strained vocalist, but it just sounds uncomfortable here, and not in the good way. Plus, he has a pretty decent voice when he is singing sans strain. The album for me was in one ear and out the other otherwise. Metalcore isn't really my thing, but this album feels especially safe, and while that means this is more digestible than you'd expect, it's still a rough listen to get through. I mean I can at least admit this is better than whatever Killswitch Engage submitted for Guitar Hero III.

Sorry person who added this, but this visually made me cringe up the moment the instrumentals started, and every time I started to ease into it a bit, it would do something to toss me right back into the Hellfire that is this album. The sound is that of an album that could be realistically played anywhere and nowhere at the same time. I could imagine hearing this blaring out of a stranger's car and not batting an eye and being concerned simultaneously. Post-hardcore just has so much great product in the world, I don't know why you'd try to drag it down with dated 2000s synths, and I say that as someone who added a 70s disco album. I could see the appeal, I guess, but if an acquaintance puts this on, I'm laughing at them, and they know they deserve it just a tiny bit.

Oddly unique and predictable at the same time? Listening to pretty much anything by Mr. Bungle will have you set for this record, but there are far worse things to take inspiration from, and this album does have enough of its own identity to keep it fresh. Nothing spectacular, but a good hint of something new to my palate. Palette? Pallet? Fuck off, English.

I understand including this, it's better than you'd expect, and you can find it in every record store and Goodwill in America, so it certainly left its mark. I just feel like this sort of album was done better with other acts on the original list, and something about Old Time Rock & Roll rubs me the wrong way, feels like Bob Seger is an old man yelling at a cloud, when he was barely thirty. Fine album. Still the Same doing A LOT of heavy lifting.

I like the middle part, it's just wacky enough to stand out, but the rest of the album does feel like it's chasing other sounds, especially Stevie Wonder. Still, solid enough, and certainly better than I thought it'd be.

Love getting the genres missed on the main generator, and while this is technically a comp, it may as well count with how limited this band's discography is. Not a huge skate/ska punk fan, but with this many quick tracks some are bound to appeal.

Far more entertaining than I could've ever expected from the nearly hour-and-a-half Spanish pop rock album. I thought I was in for a beating, but this album's energy is balanced very well, with a lot of variation on what pop rock can be. Sure, it's never intensive or a challenging listen, but the vocals are nice, the instrumentation is solid, and it surely works as a cool insight into other cultures' takes on music eras I know all too well. Good add, user, don't let the naysayers get you down!

I suppose I respect this to some extent, and some of it works for me, but by the end I wanted off the trip.

This is inoffensive, I guess? The length isn't as much of an issue as it seems, as plenty of albums on the generator extend past this album's length, so I'm used to it. The playing is also quality, dare I say GOOD at some moments, but the album as a whole just doesn't do much for me. I mean this in the nicest way possible, but the person who added this has to be a member of this band, right? Friends with them, at least? They obviously have a small following, but this feels too niché to be the album I just had to listen to at the end of the 1001 rainbow. I'm all for small acts getting represented, but this feels a bit suspicious, is all. Again, though, it's fine. Not as bad as some other reviews are treating it.

I think my favorite part of this album were all the oddities hidden within. I mean, obviously, as it is abstract hip hop but the combination of memorable and futuristic lyrics in an "Alien" sort of way, that meaning retro futurism, and beats that sound like no one could rap over them, yet Del pulls it off with flying colors, never leaving a moment to let the listener pause, as even the interludes are so intriguing with these light sprinkles of lore that only add to this plot that starts to become more and more opaque. This album ran so that so many other rappers could sprint alongside it. I have to give it 100x credit for that alone. I think some of the songs are noticeably lesser compared to others, and I could see that leading to "skips," but I was constantly entertained in some fashion, and look forward to diving into most of these songs even deeper.