Reviews by h3lios

Soothing modern jazz-soul. Its charm is how it's less polished. In paying homage to Frank and other legendary crooners, this album accomplishes to sound both modern and old. There are elements of R&B throughout the decades. What I do like are the more modern tracks that have the groove (like Mr Magic and Pumps) And "Teo Licks" is such a good interlude. What a Persona 5-adjacent track (3.5-4).

80s pop would've been my weakness a few years ago. Glad I can hear an album I've never heard of around that time with fresh eyes. After getting records that have expanded my musical knowledge, it's nice to have something more in familiar territory.

It sounds crafted and polished, which is a far cry from their post-punk background upon glimpsing the band's bio on Wikipedia. The singer has a breathy voice that pairs with the production, and sings a lot about love and girls as if those are the two things pop music is known for. The record definitely sticks to the 80s blueprint: lush ballads, funk tunes, and new wave SYNTH. Reminds me of Sabrina's most recent album (3.5).

The guitar is doing a lot of the work. Sounds like the bridge between 70s punk and 90s alternative. Influence-wise it's good, but there are just too many songs for me to fully appreciate it (2.5-3).

Can't believe we're speed running Bob Dylan.

I guess the folk rock trilogy had less accessible lyrics. This is very stripped down, with only a guitar and his voice (wait, don’t forget that harmonica!). The lyrical images are more straightforward in their metaphors than his later stuff.

A mix between ambient, hip-hop, and electronic music. It’s like that Basement Jaxx record but less overstimulating. Like all the other dance records of its time, doesn’t really hold up to most modern music. Track Six though is pretty goofy, just not in a good way (2.5-3).

I'm currently in an electronic-pop mood right now so having another Nick Cave album in less than two weeks is pretty jarring to me.

Felt unsettled by the intro, not because of the dark vibes but because of how wordy it is. It's giving Disney villain theme song but without the catchiness, just the storytelling. The duets are probably the most commercial sounding (2.5-3).

Damon Albarn finding his footing in the trip-hop space. Incorporates a lot more guitar and rock instruments than the other trip hop records I've listened to. Prefer the poppier albums like Plastic Beach and Demon Days (3.5).

Coffee shop-core reminiscent of early 70s singer-songwriters. Feels like sipping a cup in the early morning before the rush (3-3.5)

Love the early Timbaland production here. "Supa Dupa Fly" has some laid-back energy and delivery. It only works when the tracks are concise and unfortunately they go a bit too long.

🐟🫪 The legendary Beefheart album. FAST N' BULBOUS 💡🏃

What's jarring is that the notes are played in different rhythms, which is a far cry from the harmonious chords I'm used. We're hearing the chords deconstructed to their most basic form. It's like the sounds I hear in my day to day life: the conversations, the loud Instagram reels, the engine on the bus. Each has its own rhythm and I think Trout Mask kinda "replicates" that. But most of the time Captain Beefheart and his band are giving elementary music class.

And I mean this positively. There's a kid-like experimentation, a sense of wonder in this record where you just do random crap and see if it sticks. It takes me to being a kid again and not caring about what the world thinks. A masterpiece or a piece of sh-t, it doesn't matter if he's having fun with it. But personally, I'd lean to the latter, I don't think I'll be listening to Trout Mask Replica often. However, it's a much needed escape from that Trinity Session recording I had two weeks ago.

A lot of these polyrhythms remind me of Geese's Getting Killed album but less refined. Later in the record, they get tolerable, but the runtime is just a bit much. For an album with jarring sounds, it follows a conventional structure: songs mixed with tape-recorded conversations as interludes.

Chuckled listening to the first song. Reminded me of modern car commercials with the electric guitar riffs.

What I took out of this album is that it combines world music with blues rock instruments. It’s a fascinating concept but something I’m not inclined to listen to further. It’s probably a lack of sleep but I was impatient for this album to finish during the last 4-5 songs (2.5-3).

From the first song, I was transported to when I listened to Scott 2 with a country twang. I was really caught off guard by the one lyric, which reminded me of "Jackie". On a storytelling category that includes Bob Dylan, Scott Walker, and Tom Waits, Nick Cave totally fits into this storytelling troupe. Their cadences and lyrics can get very theatrical or verbose, which I'm realizing is my musical weak spot.

Throughout the record, the songwriting has a poetic, vignette feel to it. I like to use the word "atmosphere" a lot, but "Henry's Dream" definitely sets a macabre mood.

Don't really get what Wikipedia means by "punk blues". If we're talking about his time with "The Birthday Party", this record's not it.

A heavy funk sound with sprinkles of ballads and between. If there was ever a term called “frat-funk” this album might be it. It comes off as juvenile rather than sensual to me.

I can get behind the sound but it’s tiring like 30/40 minutes after that. I think the past few albums so far in this challenge have me stretching my attention span or seeing where it lies.

The vibes I get off this album are like an attempt to make an epic, storytelling album. Reminds me of roots rock and Bruce Springsteen. The songs themselves don't feel too long despite the runtime. My favourite among them has to be "With Or Without You". The way it builds up and gets intense with every verse is *chef's kiss*.

Unlike the last album I got, this one is more consistent, but the production choices sound make it same-y than cohesive. That's the major gripe I have with "The Joshua Tree".

From the album cover, you think it'd be a provocative, no holds-barred record. But the themes and messages in "Stripped" seem to go in different directions. I was in whiplash hearing "Can't Hold Us Down" transition to "Walk Away", a piano ballad. And this happens a few times, that the album becomes indulgent and overdone in its mood and runtime.
There were some gems that I love though: "Loving Me 4 Me" was so beautiful and reminded me of "4th of July". "Underappreciated" was also pretty groovy. I can hear her influences pretty clearly from both Mariah (vocally) and Janet (aesthetically). She seems to wear them on her sleeve (3-3.5)

This is very much Steely Dan-lite in all its long ambiance. All buildup, no climax like EDM trance without a proper drop/mood change. I was taking a bit of a nap and I didn't really hear much of a transition between any of the songs (2.5-3).

So many things with a saxophone that I didn’t know you could do! I think I heard the trumpet talk at one point.

The challenge for me with jazz is that it’s often improvised, which should make it exciting listening to what could come. Maybe it’s because certain sections repeat themselves so it doesn’t come off as fresh. Or that there are no lyrics so you have to really focus on multiple melodies instead of concentrating on one.

However, it’s really cool hearing Charles Mingus and his band play with such skill that they can freely bounce off each other’s instruments. This album is ultimately refreshing when I need to hear form than structure in my music listening (3-3.5).

This has a Monkees/Beach Boys/Zombies vibe to it. It incorporates some South American rhythms, soul, and rock. Definitely an "of its time" album. I'm not really "Groovin" but it passes the vibe check for sure (3-3.5).

After some old metal I get some "nu" metal!

Follows the quiet-loud formula of alt rock and has those late-90s hip hop drum beats and guitar work. "Make Yourself" doesn't really sound as heavy as I thought, almost kinda "sanitized" and commercialized (2.5-3).

"The Real Thing" has like traces of Red Hot Chili Peppers but with more metal. The parallel makes more sense when the vocalist at times sounds like Anthony Kiedis, at other times like he inhaled helium. If you take that away, I hear some pretty ordinary metal with a hint of funk beats.