Reviews by mikey_nc

I’d always dismissed these guys as one-hit wonders, but this is a pretty bright and fun genre mix that shows they had more to offer than just the one hit. It is very 80s, for better and worse, but I enjoyed it.

Best song: Come On Eileen

Well it’s a massively regarded album for good reason. I’ve heard Pet Sounds several times and it always felt more like something I’m supposed to love than something I actually love. This time I definitely appreciated its scope and its craft, especially for 1966 and especially coming from a teen-pop band of surfer dudes. There are a couple all-time classics, especially the heartbreakingly gorgeous God Only Knows. But I feel like, I dunno, some of the songs are just not really cutting it? The album’s production is super overpowering and it does all the work in the weaker tracks, and I don’t love the effect of that. But whatever minor criticisms I can toss at Pet Sounds, its place in pop music history is assured.

Best song: God Only Knows

Bouncy, pitchy, goofy pop rock. The songs are kind of hit-or-miss, but I can appreciate this. It’s pretty fun, and Pharrell knows how to write a hook.

Best song: Wonderful Place

The most striking thing about this album is the chilliness of it. I’d always thought of John Prine as this warm folksy Appalachian grandpa, with my only real exposure being his funny and warm “In Spite of Ourselves,” but this album reads as dispassionate and cynical. “Sam Stone” paints a haunting picture of addiction while punching you in the gut with its frank statement that “Jesus Christ died for nothing, I suppose,” and “Pretty Good” is a biting dismissal of the idea that anything really means anything. Prine weaves stories of average people suffering under a grim and disinterested universe. Even the more comical songs, like “Donald and Lydia,” tend towards a cosmic flatness, as two outcasts who seem meant for each other never actually make it happen; they’re destined only to “make love ten miles away.” The opener, an ode to marijuana in “Illegal Smile,” seems friendly, but even it’s openly about using drugs to escape the misery of everyday life. This is a DOUR album.

So to me, while this album is good and Prine is clearly talented, it’s not hard to understand why he never gained the wide audience that songwriters like Bob Dylan or Neil Young or Paul Simon picked up. Dylan was often cynical, but that cynicism came from strong emotion; Young was often miserable, but he was also sentimental and had a rah-rah electric guitar side to balance it; Simon was often dispassionate, but his removed character studies are usually more charming than sad. Prine is all three of these things, and he makes no attempt to water them down or make his songs more palatable to a popular audience. That goes to the sound, too, as his dry bleat of a voice lends little color to the spare arrangements. Charitably, he’s an uncompromising sort of artist, too honest to be accepted by the general public. Uncharitably, his music is too damn boring and depressing to earn a huge fanbase. Either way, I come away impressed by his talent but not necessarily excited to hear more.

Best song: Hello in There

There are not a lot of bands out there who are dumber and louder than Kiss. They are truly music for the lowest common denominator. And damn if they don’t rock.

Best song: God of Thunder

There’s nothing really wrong with this, but wow did it leave no impression at all.

Bright, expansive, creative, and fun. A little different but a real treat. This list’s Brazilian music has been hitting so far.

Best song: O Trem Azul

Sounds like Sam Smith and James Blake’s love child freestyling over orchestra practice.

Best song: Fistful of Love

Very 90s, from the cover on down. There are lots of good songs here, sharp, melodic, and performed with a distinct style. A strong album for sure.

Best song: Stupid Thing

Not as high on this as I am on most Radiohead albums. This is probably their most difficult release, clearly a companion to Kid A but more muted and mysterious than that already kinda challenging album. The songs don’t get all the way there for me, but it’s still an interesting listen.

Best song: Knives Out

There are decent songs here, though the theatrical arrangements aren’t really my thing. I almost came to like this album, but sadly I can’t really get past Rufus Wainwright’s voice. He sounds like Thom Yorke if you sliced out 75% of his range and ability to emote.

Best song: I Don’t Know What It Is

Kinda sounds like diet Bjork with more synths. Not always my vibe, but there are a few quality songs here.

Best song: Happiness

That was definitely better than the last grime album I got. Unfortunately, that doesn’t mean it’s good.

An ethereal electronic album that relies on atmospheres and textures. Consistently relaxing, occasionally interesting, and sometimes forgettable.

Best song: Weather Storm

Well that wasn’t very pleasant. I do like some of the guitar riffs here, but I don’t really like music that tries this hard to be dark and intense.

Best song: Hero

Somehow enormous and intimate at the same time. Kate Bush isn’t the most approachable but wow can she knock it out of the park once you get drawn in. Will return at some point.

Best song: Love and Anger

Well that doesn’t really sound like the Who. This is a solid psychedelic pop album, though I also find it pretty scattershot and unfocused. (But isn’t a lot of psychedelic music like that, for obvious reasons?) There are some very melodic and pleasant songs here, just not quite what I would be looking for.

Best song: I Can See for Miles

Well it’s definitely Siouxsie—lots of wailing, icy guitars, and foam-soft drums. I acknowledge the very distinctive soundfont and vibe that this album has, I just don’t really enjoy it.

Best song: Carcass

I'm not really into Curtis Mayfield's love for falsetto, but this is still a very fun yet weighty album with a crystal-clear concept. Strong melodies and rhythms.

Best song: No Thing on Me (Cocaine Song)

“Sophisti-pop” is not a genre label that excited me on first glance, but this is not only sophisticated but also emotive, well-written, and well-produced pop. It’s certainly lacking in edge, but it makes up for it in craft.

Best song: Polly