Reviews by giddy

I find it very comedic that seminal albums in the proto-punk, punk, and post-punk genres all came out within the same year, as it really shows how loose those titles are. This album, in particular, doesn't feel especially punk-ish, save for its indifferent vocal delivery and some more strange guitar solos. If anything, its just a 70s take on rock 'n' roll with more angst-ridden lyrics, but it can still feel pretty stereotypical. The coolest thing to come out of this band, in my opinion, is the members that went on to be in bigger projects like Talking Heads and the Cars, as you can hear it a little here, and its neat enough as is, but when you start to forget the influences and changes, you start to suspect that perhaps the world of punk would have continued without this album, as its more of a Velvet Underground re-hash at its most out there, and while it certainly had its sway on the music world, as I mentioned it was already competing with punk and post-punk acts at the time of its release. Its more of a cool story tied into an alright album, with a good track or two to keep it in the limelight. Certainly not bad, but outclassed by everyone around them, and its hard to see it another way, personally.

An excellent blend of that industrial sound with something less meandering than the sound I tend to associate with the genre due to the post-hardcore and noise rock injections. The instrumentation is tight and rapid, the production feels of its time, but just futuristic enough to feel influential, and I can see why everyone and their mother wanted Steve Albini's two cents (or more) in the late 80s/early 90s. It relies on its texture, but isn't lacking a kick of flavor to it so that tracks can still have a catchiness to them all. It does lose grip a little at the very tail end of the record, and many of the tracks can come off as repetitive, but there is enough impact with each note to leave me rocking out for nearly the entirety of the album. In all essence the name Atomizer is perfect. It could probably kill a whole planet with its power, but man if those using it don't look cool as hell.

This album is far too hot and cold for me to really get into it. Its got a lot of neat moments that I quite enjoy, but its bogged down by instrumental tracks that not only pad out the run time, but bog down the theming of the album by dragging it into genres it really has little business attempting, even if said attempts are inoffensive. It does have stuff to enjoy, however, as I'd say some of the vocal tracks are pretty enough, and put a different enough spin on the alt-country tone for it to stand out in a crowd. It just feels very self-indulgent, as if at no point no one told the band "no." I could see another project by this band being better, but as it stands this one is an extremely mixed bag of good and "Eh? Eh..." to just be alright on a good day, with a tad nudge upwards for the originality.

The first track is a tad hard to get through, giving me the same feeling an avant-garde jazz album may give to one not interested in jazz in the first place (hey, that's also me!) but after that beast of a track the album mellows out a bit and actually has some pretty nice stuff in it. I'll admit that this album being from 1973 earns it the sense of being far ahead of its time, but it doesn't feel like it does enough to really stand out, other than a surface level striking layer to get you feeling euphoric, only for it to mellow rather quickly and then just be a decent, albeit playful and inoffensive, time. There's some stuff here to enjoy, and parts of the longer tracks are nice too, but it never feels like a proper package, and the long tracks never seem to stick the landing, save for Jennifer, which I quite enjoy and see why it would be the "big" track from this release. Its a decent time, and I can see why many quite like this, but also why one would just find this boring.

This album is an insane powerhouse of sampling and just pure confidence, but not in a way that comes off as smug, rather something more fun to be around that knows its hot shit and you agree. Nothing like this could be made today, and even if it was, it would cost millions to clear, and ain't no way there would be a whole song of Beatles samples. Despite it being a party album through-and-through, just like Licensed to Ill, it has a new sense of maturity to it that comes with the expert level production and flow of each verse that's shared so perfectly between Mike D, Ad Rock, and MCA that it doesn't have the choppiness issue many rap groups tend to have. Everything here is so professional despite how loose it is, and it just feels like the pinnacle of hip-hop in the 80s. Everything changed after this record, sadly for better and worse, but the fact that we got something so funky just in time really feels like a gift more than anything. Flaws include that it feels a tad long, and due to its nature it can feel repetitive tonally, but the change-ups instrumentally are well worth seeing this album through, especially with some of the best beats coming from the last stretch in B-Boy Bouillabaisse. I can now see why this is considered Beastie Boy's crowning achievement.

When looking back on Donovan in his heyday, its easy to draw comparisons between all of his contemporaries, and how they often rose above his output, to the point where his biggest namesake in the current day is a soda "probably" named after one of his songs, which to be fair, not many musicians can say, but you get what I mean. However, if you separate his work into its own bubble, there is quite a bit to enjoy. He's got an unconventional yet pretty voice, amateur-ish enough to feel genuine on most tracks, and his guitar playing is simple yet sweet, giving to a relaxing album to put on and enjoy in the background. I'll personally say that the hits here actually do very little for me, but the deep cuts are exactly what I'd want out of this era of folk, with great pop-production to make it feel mainstream without pulling out the roots, and a just solid theming throughout. It may be a tad stereotypical, but its still a nice time. Obviously this is no Bob Dylan, Tim Buckley, etc. etc, but on its own merits, this is a worthwhile addition to anyone's collection.

As the album was still getting on its feet I was feeling as though this would be on the more dry side of alt-country; one that can be hard to sludge through without some endurance. However, the album picked up some speed a little bit in and stayed rather good throughout, with a lot of Neil Young influence to keep you entertained, and a surprise or two in the form of noisy tracks to keep you on your toes. As much from the era, its far too bloated, and I could see this being repetitive for some, as it does keep a general tone that can feel flat all in a row, but if you let the album take you places, its really good at being something rather pretty, and I'd even argue has some of that melancholic feel that Leonard Cohen presents, although its not as captivating lyrically as Cohen. Overall, a solid record that I'm glad I spent time listening to.

This album had me nearly instantly hooked with its odd combination of high energy guitars, pulsing, danceable bass, and a neat inclusion of acoustic guitar to give it a more natural sound compared to its synth-y contemporaries, striking against a dreary atmosphere and that odd vocal delivery you can't help but tune in to. Its as if you're being forced to dance to something you'd never think to fance to, yet you can't help but have a good time. This feeling permeates throughout the A-side, into the B-side, but unfortunately does not stick the landing, with the energy and tempo slowing going down, but not shockingly enough to keep your attention, rather just kind of ween you off the record before its over, that way you aren't really dying for more, but you had a good time while it lasted. Really strong showing from a band I've had mixed feelings on, and while this album doesn't really have its own "Killing Moon," it tries damn hard, never settling for just one or two good tracks, and to that I applaud and appreciate it.

I've listened to this album before, about a year-and-a-half ago when my parter listened to it, and I remember being caught off guard by its quality, but otherwise forgetting most of the album, with only one or two tracks making it into my regular shuffle. However, re-visiting this album all this time later, I've heard far more that is obviously inspired by this record, such as The Divine Comedy, and I've in turn fallen in love with this style of music. The amateur-ish yet insanely captivating vocals, the questionable yet charming lyrics, and God those strings! The whole ensemble of instruments on this record in general is flawless, and makes the album what it is. Most of the songs are covers, and I feel that does help Scott Walker's serious case of "Huh?" lyrics, and I'd happily swoon over this album time and time again if it were only to enjoy each orchestral sweep, dive, and peak. Its an album that somehow displays raw emotion whilst feeling cold and distant, and I think the idea of a crooner in the late 60s matches this feeling perfectly. The style is dying out, the art of music is moving on, and yet something about this simple baroque pop record leaves a massive impact on me. If this is what I have waiting for me with the rest of Walker's material, but even better, then sign me up.

An album of its time, with the same production choices and vocal inflections that seemed to get every pop station itching for more of the same you could argue this era of music has permanently left a crack in the pop industry, one that didn't really start to heal until the last couple of years. It just feels like every song from 2013 sounded like this, and if it didn't, it was trying to. This specific attempt is inoffensive most of the time, with decent moments buried under what feels like heaps of overproduced beats and synths, only feeling especially eye-roll worthy when the male vocalist appears and it becomes a cheese fest. I know this era is trying to emulate the 80s in its design, but the 80s has a charm to it that this lacks, and I say that as someone who did not grow up in the 80s at all. That isn't to say all 80s music is free from the issues here, because its far from that, but nothing from this brand of synthpop seems to have that memorable quality to it, only leading to me asking if I know any of the music here, or if its just the flavor of the week.

Anyway, I've gotten a tad off topic. There's some neat things near the end (although not that final track, yuck) with scratchy bass lines and neat soundscapes that I could see getting one pumped in the right mood, but otherwise I feel this earns its way as memories of a bygone era more than something to still listen to today, and if I'm talking like that about an album from only a decade ago, then who knows how poorly this could age in another ten years?

This is about as generic as you can get when it comes to 70s rock, which is strange, because this came out in 1983... its certainly got the technical ability at times, but otherwise this sounds like nothing in particular for most of its run time, and I genuinely forgot I was listening to music until I looked down and realized I had four tracks left, all of which I could also tell you nothing about. Its fine, I guess? It has a quality to it that isn't as cheesy as the glam metal outfits that were starting to sprout at the time, nor are the synths used in a way to overshadow the main instrumentals, something groups like Van Halen failed to do, but still this album is incredibly dull. Sharp Dressed Man has a good hook and riff, but otherwise this is the kind of music people mean when they say they like "classic rock," and I don't mean that in a good way.

I appreciate this album being far less poorly aged than a lot of other albums from the time, as it has a lot of effects that feel more graceful(?) than even effects from half a decade prior, and the slow leaning away from electronica near the end of the album makes it stand out all the more as a careful blend of genres. Its still relatively boring like a lot of its contemporaries, far too long, and the vocal tracks are just bad for the most part, but when this album lays its cards out it can be a good time. Just have to have a lot of patience to get there.

This is one of the most gorgeous albums of all time. Rufus Wainwright's voice strikes the perfect balance between whine and perfect pitch to paint a truly hurt individual, which many of these songs needed to be perfectly executed. His piano playing, and all the instrumentation for that matter, is simple yet very effective, and there is such a beautiful amalgamation of pop and ballad that its easily very near the top of its class. Perhaps its a tad long, but its hard to argue that time is wasted, as every second in every song feels purposeful, and no song is dragged out more than needed, not even the nine minute finale. It just all feels so grand, and I can only assume Wainwright was going for that, and in that case he nailed it. Shame he's known for little outside of his Hallelujah cover, because this proves he has every right to stand amongst the greats from the time such as Jeff Buckley (which he pays a lovely tribute to) and Elliott Smith. I only wish this album was more beloved, as I fail to see how this isn't considered one of the greatest albums of the 2000s, because it is.

A very generic album, that feels like it was made to be a massive hit in its era, but that's just caused it to age like milk two decades later. It just reeks of the early 2000s, the vocal delivery, the beats, the song titles, they're all so cheesy, and while there are decent moments in here, the CD era still seems to think anyone wants to hear an hour long album with no reason to be that long. Its fine technically, and inoffensive for most of its runtime, but I was pretty tired by the ending song, and I can not pinpoint a moment that was worth listening to the album for. There are plenty of records to cover this style of hip-hop, and this one isn't one of them.

I realize not every song out there has to be catchy. Hell, not every song has to necessarily be a "song," but it is always so jarring when something like that comes along, and its incredibly hard to adjust in a timely matter. Such is the case with much of this album, where any sort of normal song structure is thrown out for droning synths, sinister vocals, and an overall oppressive atmosphere. It works for a majority of the album, with its repetitive drive being oddly infectious, albeit many of the songs go on for too long, and I'd even say it has a melancholic feel to it at times, not unfamiliar to Velvet Underground fans. However, what seems to be considered the star of the show is Frankie Teardrop, and I mean that in any which way. Its a piece of avant-garde brutality, both on the mind and the ears. The piercing screams can cause even the most iron-willed listener to shiver, and... I hate it. I know its supposed to make me uncomfortable, but its downright a blight on an otherwise pretty decent record. Its too long, it comes out of nowhere, and in a modern age it doesn't come off as disturbing, rather edgy for the sake of nothing. Its the musical equivalent of a jumpscare, and in that aspect its memorable, but nothing to actually ponder, save for a throwaway line about there being a Frankie in all of us. The rest of the album is a synth-punk classic that earns its notoriety, but that single song bumps it down in such a way I can never see myself listening to this front to back again. Wish I could be enlightened enough to get it, but I'm not, and I really don't care to get there if that's what's awaiting me.

This album ended and I said aloud "Oh is that it?" I was so sure it was going to be dragging on for another three or so tracks, and I had completely tuned out from it at that point that it was the most surprising thing of the whole listen. The album is... fine? Its extremely safe, never venturing far from its obvious inspirations and stylings, save for a reversed guitar that feels tacky here more than anything, but its inoffensive. It can be okay background music, and as I said, despite rocking far too long of a runtime, it actually breezed by pretty quickly. Otherwise, there isn't much to say, and you can get better dub experiences elsewhere.

I'm actually a tad shocked by this record, not only because I thought it would be all American Pie-esque tracks, when it was more so all Vincent-esque tracks, but because I found myself enjoying it pretty thoroughly, even American Pie, in all of its overplayed glory. It has some amazing sleeper hits on here, and even though there is some repeat tones that feel like Don McLean is copying off his own homework, when this recordtries boy does it try, with sweet little tracks aplenty, and even a Bob Dylan-esque track about ¾s of the way in that's pulled off pretty well. Its short and sweet, and I'm just impressed this bargain bin, at every record store in America-of a record is not only good, but I'd argue great.

A really fun album not afraid of being too blunt, nor too modern. It doesn't try to wax poetic, rather being blunt with things like anime, video games, and other "silly" things that may feel out of place in a soul album, but the record as a whole stands out more because of this. It helps that Thundercat isn't just throwing these things around, but rather using them in a way that feels just right for the tone at hand. Sometimes it can feel a tad internet-brained, in which I'd rather look for an artist like Jack Stauber to fill that void, but when it hits, it can be relatively dreamy more than anything. My only main flaw is its length versus its variety. Every song here is at least good, but tracks can blend together very easily, especially at the amount of them here, and it could've easily been trimmed down as a result, but otherwise this is a great time with some sleepy yet funky jams to get you rocking out in any mood. Quite enjoyed this, I feel only a record like this could pull Kenny Loggins and Kendrick Lamar back to back and do it well.

I choose in my life to constantly make fun on the leading track, Ace of Spades, because Lemmy's voice is so unique its hard not to pay attention to that track. It wouldn't be a notable song without the delivery, but I understand that pulling people in. Lucky for those people, every single other song here is the exact same track but chopped up with different lyrics, some far more disgusting than others. Its fine in short bursts, but a whole album of it, even at only thirty minutes, can lead anyone to groaning every time a track starts and it sounds the exact same as the last one, two, three, etc, etc. I get why those looking for a pick me up would like the rough energy of this, but nearly everything about this has aged like milk, and it feels only like it passes due to the joy I feel singing "MY ASS IS GAY!" to the tune of "The ass of spades!" Its a cathartic experience, truly, and gives me some amount of pleasure, which I feel deserves it some indirect credit.

What an incredibly cool and fun album! Its so charming and has some gorgeous moments that really are just awe inspiring. Most of it is just background music, but its really chill background music that I can easily sink my teeth into, and Holger Czukay's voice is a little silly, but overall really nice, making for a really great little jam thing with bits of greatness sprinkled in; enough so that I don't have anything but praise for this record. Really surprising, but a welcome surprise nonetheless.