Reviews by gregorsmith

Listening to Supernova, I can't help feeling like this latest 2026 addition is the ultimate participation trophy pick, a thoroughly basic, derivative nu-metal throwback that feels like it was panic-selected just to fill a modern diversity and representation quota rather than on any actual artistic merit. Sure, the thirty-minute runtime mercy-kills the boredom and the duo certainly brings just enough high-octane energy and raw attitude, but the relentless, compressed "everything louder than everything else" production gives me a migraine, resulting in a toothless pastiche that wouldn't have even turned heads back in 1999.

Besides, there's only one Scottish Supernova, and that's Noam Dar, pass it on...

I honestly forgot The Chemical Brothers even existed at this point, I mean they felt like middle-aged accountants 30 years ago when they were hammering out "Block Rockin Beats", and the last thing I remember hearing by them was "Galvanize" 20 years ago, proving that time truly is the fire in which we all burn...

Diving into this late career effort, I found myself torn between chuckling at the sheer absurdity of Robert Dimery padding out the new book edition with a third album from a legacy act and actually enjoying the surprisingly solid, squelchy house grooves and nostalgic 90s synths. Sure, it feels completely non-essential and derivative of their classic 90s peaks rather than pushing electronica forward in the 2020s, but it still flows nicely as a continuous, trippy rave-inspired DJ set with some standout tracks like "Live Again" and "No Reason". It’s an utterly pointless inclusion on a must-listen list that bypassed scores of more relevant modern electronic acts, yet despite my initial eye-rolling, I couldn't entirely hate a record that delivers a harmless, fun nostalgic bop.

I wanted to love Día because those analog synth textures and moody, electronic vibes are right up my alley. But honestly? It started off cool and then just felt kind of one-note. It’s got some nice moments and sounds pretty neat, but it mostly just feels like a bunch of half-baked ideas instead of a real, solid album.

I couldn't help but feel like jasmine.4.t is really trying to copy Phoebe Bridgers, who conveniently produced and backed the whole thing, instead of doing her own thing. While there are some nice, vulnerable folk moments, all the breathy indie-rock stuff just makes me wonder why they didn't just add the boygenius record to the list instead.

Man, I am honestly floored by this. How does a band forty years in drop a late-era masterpiece that actually holds its own against Disintegration? Robert Smith’s voice sounds timeless, and the whole record is just packed with this heavy, gothic atmosphere about getting older and dealing with grief. The song structures are massive and cinematic, and even though the long, moody intros might be a bit much for some people, I thought the whole thing was a total triumph.

Score one for Olivia Rodrigo elevating these plucky upstarts...

I'm honestly torn on this. On one hand, the personal stories in the lyrics are really powerful, hearing about his childhood in Liberia through such a unique sound is definitely something special. Songs like "Field Song" and "Somewhere Down In Georgia" hit hard and show he's a hell of a storyteller. But at the same time, the production feels a little too safe for me. It’s got that polished, coffee shop vibe that sounds a bit too much like Bon Iver or Sufjan Stevens. While the craftsmanship is clearly there, the sound leans heavily into a well-trodden aesthetic that feels slightly derivative rather than truly innovative.. It’s hard to tell if this is a raw, essential record or just a bit over-sanitized for modern ears, so I'm really not sure if it holds up as an all-time classic yet.

I don't know what these wrinkly old fuck still have, but they still got it, CAPITAL I & T. Stepping into Hackney Diamonds, I expected a pathetic, overproduced cash grab from a bunch of octogenarians well past their prime, but somehow, they actually delivered. Sure, Mick Jagger's vocals get a bit of modern studio polish and the lyricism occasionally flirts with unintentional comedy, but the sheer, raw energy of Keith Richards and Ronnie Wood tearing through those guitar riffs completely won me over.

While its inclusion on an essential listening list feels like a baffling, nostalgic meme at the expense of far more vital modern records, I can't even be mad at the music itself.

I was fully ready to roll with all the hype and the marketing, expecting just another piece of disposable pop radio fluff. But honestly? I have to hand it to her... Brat is a total blast. Even though I usually roll my eyes at excessive autotune or question why new albums get added to a "classic" list so soon, those sharp, early-2000s club beats and A.G. Cook’s production make this an absolute masterclass in dance-pop.

Bangers like "Von Dutch" and "360" hit so hard. But what really surprised me was the vulnerable, confessional stuff hidden under all that party-girl energy on tracks like "I Think About It All the Time" and "Sympathy Is a Knife". It turns what could have been a superficial record into something genuinely daring and disorienting. It's fast, unapologetic, sweaty club catharsis, and honestly, it’s just so hot.

It's beyond hot, it's so Brat.

I generally hate seeing movie soundtracks cluttering a list that is supposed to catalog essential albums before you die, and having an entry that was just released this year added alongside previous classic removals makes the whole exercise feel painfully premature. Make no mistake, it’s an intriguing, gothic-tinted detour, the eerie string arrangements, tight 34-minute runtime, and that weirdly bold John Cale opener prove Charli xcx knows how to execute a dark concept without entirely abandoning pop craft... but it simply isn’t Brat (neither the noun, adjective, nor the verb), and it lacks the cultural weight, instant anthems, or time-tested staying power to justify its place in the canon so soon.

I was a bit skeptical about Hit Me Hard and Soft at first, I mean, this is the music my kid loves to listen to, but it really grew on me. I’m usually not big on that hushed, mumbled pop sound, but Billie absolutely proves she’s the real deal here. Finneas’s production is the star of the show, it’s crisp, spacious, and totally ambitious, shifting perfectly from quiet, bedroom-pop moments to massive dance beats. Tracks like "Birds of a Feather" and "Lunch" are instant earworms, and the way "Bittersuite" transitions into "Blue" shows she’s really out here taking risks and breaking the mold.

It’s not perfect... there are a few spots where the energy dips or the songs start to sound a little samey, but even then, it’s clear she’s operating at a different level than everyone else.

All Born Screaming is a total trip and just proves Annie Clark is one of the most creative artists out there right now. From the heavy, industrial punch of "Broken Man" and the killer groove on "Flea" to the epic, Bond-movie vibes of "Violent Times", the whole thing feels both raw and perfectly put together. She ditched some of the polish from her older stuff for more fuzz, gnarly guitars, and wild synth textures, which makes for a sound that jumps between being dark and intense or super catchy.

Even when it goes off in unexpected directions, like the dubby rhythm on "So Many Planets", everything clicks, especially that massive, hypnotic title track... I wish it didn't have to end.

I tried to give Empty Hands the benefit of the doubt, and honestly, it just didn't do it for me. I usually like how she blends catchy pop hooks with aggressive, heavy riffs, but this one felt like she was just going through the motions. The whole quiet-verse to loud-chorus shift felt totally painting by numbers instead of delivering that sudden punch she usually goes for. The guitars and beats get lost in a muddy wall of sound, and just didn't stick with me at all. It tries hard to sell this moody, chaotic energy, but by the time it wrapped up, I was already forgetting how it went.

Ahhh, Alvvays, we got a Chvrches thing going on here huh? Anyhoo, new ground, can't fuck this up.... or can I? 🤔

Blue Rev absolutely blew me away. Alvvays took the usual jangle-pop sound and turned it into this massive, fuzzed-out wall of noise, and it works so well. Every track is packed with energy, hooks, and these wild key changes that keep you on your toes. Even with all the distortion, Molly Rankin’s songwriting still shines through, it’s funny, nostalgic, and just hits right. It’s rare to find a record that’s this catchy and chaotic at the same time.

Hitting the final album of this project is kind of emotional, but what a way to wrap it up! After all the slogs and weird detours, finishing on this feels like a total win. I know Björk can be pretty "love her or hate her", and her later stuff that is also on this list definitely gets a bit too artsy, but Debut is just pure gold. It’s not some alienating experimental mess; it’s just peak, catchy Björk. You’ve got the infectious, high-energy dance pulse of "Big Time Sensuality", the pure euphoria of "Violently Happy", and that quirky, bouncy vibe on "Human Behaviour", The early '90s house beats feel like a time capsule, but her wild, unique vocals slice through everything with so much joy.

Sure, it’s a bit all over the place, jumping from techno to jazz and harp ballads, but that messy, fearless energy is exactly why it’s so good. It captures that special moment where an artist is finally coming into their own, focusing on great songs rather than trying too hard to be deep. You can see why she’s so divisive, but the charm here is just impossible to deny. It’s vibrant, fun, and honestly such a perfect, high-note finish to this whole marathon. Loved it.

This album is such a weird, addictive trip that totally messes with your sense of time. It mixes those steady Krautrock beats with fuzzy synths and breathy, French/English vocals to create these hypnotic soundscapes that feel both retro and futuristic. It’s perfect as background music, but if you actually pay attention to tracks like "Metronomic Underground", "Cybele's Reverie", and "The Noise Of Carpet", you’ll realise how clever and layered the arrangements really are.

It might not be for everyone... If you’re not into repetitive grooves, quirky French pop, or artsy lounge vibes, it can drag a little. But honestly, the songwriting is so unique and playful that it rarely feels boring.

Bobby Womack totally nailed it with The Poet, hitting that sweet spot in the early ’80s where disco was fading out and that slick, synth-soul sound was taking over. The rhythm section is locked in, and it just glides from upbeat tracks like "Stand Up" to super smooth jams like "If You Think You're Lonely Now." Womack’s gravelly voice brings so much grit to the polished production, and he’s got that unapologetic swagger that could only come out of a coked-out, high-flying studio era.

Yeah, calling the album The Poet is a bit of a stretch when he’s literally comparing love to Kentucky Fried Chicken, and sure, it gets a little cheesy with those ’80s synths. But even when it dips into generic territory, the vibe stays solid. It’s groovy, super smooth, and just a fun, easy listen.

I usually dig Nick Cave when he keeps things dark and slow, but The Boatman's Call just feels like he's trying way too hard. "Into My Arms" is a gorgeous start, it’s actually restrained and hits just right, but after that, the whole thing turns into a 50 minute slog of piano dirges. It feels like he’s playing up the "tortured poet" act a bit too much, and without the usual chaos of the Bad Seeds to balance it out, the lyrics just sound clunky and overly serious.

A hyperactive collage of the mid ’90s where no one bothered with boring things like genre rules and expectations. Beck teaming up with the Dust Brothers was total genius, layering heavy hip-hop beats, gritty blues riffs, slide guitars, and random noise into a massive grab bag that somehow actually works. It can get pretty chaotic and even a little obnoxious with all the static and weird samples, but that’s honestly what makes it so fun. Tracks like “Devil’s Haircut” and “Where It’s At” have these mad grooves and hooks that prove Beck was way more than a one-hit wonder and far beyond two turntables and a microphone.

Oh joy, my final Tom Waits album of this challenge, and looking at the reviews, it's clear he remains as fiercely polarizing as ever. You either love his carnival underworld or you’re ready to claw your ears off. I went into Swordfishtrombones expecting the usual vocal gravel, but his eccentric style ended up totally winning me over.

He trades the standard piano for clattering junk-percussion and wonky horns, which makes tracks like "16 Shells From A Thirty-Ought Six" feel genuinely wild. But the best part is how he switches gears to these beautiful, sad moments like "Johnsburg, Illinois".

His voice is definitely a lot, and it’s not for everyone, but there’s so much heart and weird humor underneath the chaos. It’s an acquired taste for sure, but once it clicks, it’s addictive. I’m honestly a little sad to be done with his albums, he made the whole challenge a lot more unpredictable and fun.

L'Eau Rouge by The Young Gods is basically like getting tossed into a chaotic, neon-lit funhouse where European cabaret meets '80s industrial metal. It’s pretty wild, no traditional riffs here, just a wall of sampled guitars and heavy, clattering drums with the singer snarling over the top in French. It sounds like a deranged, horror-movie version of Tom Waits or Jacques Brel backing an early Nine Inch Nails demo. One minute it's a tense accordion waltz, and the next it's just full-on mechanical mayhem that leaves you feeling totally buzzed and weirded out.

It’s definitely not for everyone, it’s abrasive and kind of a lot to take in, but the way they pull it off is pretty cool. It's a high-stakes, intense ride that might catch you off guard, but if you can handle the industrial noise and the French vocals, there’s a really unique, dark atmosphere underneath.

And true purists know that Eau Rouge is technically part of Raidillon...