Reviews by mkaddour2001

I hear "goth rock" get tagged onto a lot of different albums - but this by far is the most goth rock goth rock album I've ever heard. Drenched in reverb, sorrow, dread, and unease - it feels like such a contrast to the warm, coziness of The Cure's 'Disintegration'. And while it's not as vibrant or luscious as that album, it's certainly more consistent. I love that tribal drum pattern and picked bassline driving the song 'The Hanging Garden' - the rhythm section of this album is consistently tight and clean - filled with reverb snares and melodic basslines. The guitars, on the other hand, feel intangible - there are certainly hints of riffs here, especially with the haunting opener 'One Hundred Years', but most of the time they sound like faint memories and unwelcoming swellings. They're blurry - kind of like this cover. My favorite song from an instrumental standpoint is 'A Strange Day' with that riff in the instrumental break. I also love the inclusion of the eerie sample that opens up the noise and industrial-esque closing title track.

But the thing that drew me in the most on this album was the imagery. Here Smith generally paints love as this super unpleasant disease, like the complete opposite of a song like 'Lovesong' that would come later in the Cure's discography. Everything here feels dreadful and ugly - an atmosphere only elevated by the drug-induced visions that occasionally crop up. A song like 'Siamese Twins' has these images of writhing and worms eating skin in a song about something supposedly beautiful and enjoyable - sex. But he paints this as an ugly, humiliating act, to an almost horror-like degree. Another example is 'The Figurehead' in which Smith talks about being unable to sleep, and with maybe the most extreme example here on the closing title track, he goes into these homicidal utterings. "One more day like today and I'll kill you" ... sick.

This is an album that delves into the schizophrenic mascarades of love. Smith feels it's all fake, hence the name 'Pornography'. This album sounds like the beginning of calamity, an imminent destruction too huge for anyone to comprehend - a destruction sourced from one's undying love, and simultaneous hate, for another.

This is that real rock opera music - the type I can't really stand. All my experiences with 'The Who' have been more or less pleasant as of yet, with each record providing a unique twist on their generally pop-rock-leaning sound. But this was too soft for me - and plagued with these long and largely uninteresting musical passages ('Underture' and 'Overture' for me). Where's the punch? In a time when sounds of rock were changing (including the sounds of The Who in the direction of something more interesting), this seems behind. There were some highlights, I WOULD HAVE liked 'Christmas' if it wasn't for those annoying backing "gasping" vocals - like whose idea was that? The closing was maybe the best song here musically, and it also serves as a nice thematic tie-up to the bizzaro story presented here.

From what I gathered in this story, it seems to be about a physically impaired child and his struggles growing up. And I can't lie, I was pretty invested in this Tommy guy. I love the way his desire to keep some grand secret after '1921' gets translated to this non-medical deaf-dumb-and-blind condition. Also apparently this secret is him watching the murder of his mom's new lover at the hands of his WW1 veteran father? I didn't really catch this in the album...maybe it's a 'Tommy' move thing. Either way, a good chunk of this record seems to follow the people around Tommy begging him to snap out of his incommunicado status. And when the mirror he saw this murder through is smashed, he finally gets cured? And is then treated as a messiah? OK. I mean it is a pretty neat story all things considered - and apparently, it's been made into an actual musical. It's the only reason I bothered finishing this thing (that and it'd be bad taste otherwise) - it kept me engaged. If only the music here did the same - oh well.

Middle School nostalgia aside, I didn't have as much fun with this album as I hoped. But I guess that sums up my relationship with many "childhood" pop songs, I tend to see them through rose-tinted glasses until I, you know, actually listen to them again, and notice all the little things that I never paid attention to. Granted, a few songs here like 'Style' and especially the clunky 'Shake it Off' I always hated. And I'm pretty easy to please when it comes to pop music, especially early 2010s style, I'm a sucker for it. But this got grating quickly, primarily with the subject matter and production. Like seriously what the hell is going on with the beat on 'I Wish You Would', it sounds so much worse than everything else here. It just proves that there's more to good pop music composition than a catchy chorus - something Swift has in spades. It's not all so bad though, the opener 'Welcome to New York' was pretty good - maybe even the best song here. It was a cute little pop tune with a pleasant synth melody - I feel similarly about 'How You Get the Girl', a song that sort of reminds me of Carly Rae. 'Bad Blood' I enjoyed also...I've been familiar with this one and I was expecting to hate it but of all the big songs off this album ("big" being a funny word to use, the least streamed song here has well over 100 million) it was the one I enjoyed the most.

I don't hate Taylor Swift, but the pop hits off this one just aren't her best, that is to say, there is no 'Cruel Summer' or 'Love Story' here. And, yeah, I am happy she switched to folk-pop in the early 2020s, it suits her.

I've stopped writing reviews for live albums here, but something must be said about this particular album. For starters, Fela Kuti's music hits much harder in a live context for me - I enjoyed this even more than 'Zombie'. There's just so much energy on display - the percussion (in part done by Ginger Baker) and bass especially pop in the mix - and Fela Kuti himself sounds incredibly personable in this context. The Ginger Baker collaboration is important, with Western music meeting Western African music, but moreso as an idea I feel. But Baker's musical presence is still felt with his standard drum kit playing when he joins the stage on 'Ye Ye De Smell', adding an unconventional (in the Afrobeat world) punch to the song's rhythm section. But my favorite song was one where he wasn't even playing - that being 'Black Man's Cry'. Another great moment was that sing-along closing out 'Egbe-Mi O (Carry Me)' as the song builds to its final climax with the drums and horns - it's the definition of live energy!

This was beyond enjoyable - it's what got me to understand Fela Kuti's generational talent.

This is not my first "Songhai Blues" record considering I'm familiar with the aptly named blues-rock group Songhoy Blues, but I do find Ali's take on it here very different. It's far less punchy than anything off of 'Music in Exile' for example. Instead, It feels like this album cover, depicting a man sitting on a rocked-back chair with his guitar - translating all his memories, experiences, and burdens into these dense guitar improvisations. The vocals maintain the very smooth, and melodically vibrant style I was expecting though.

I'll be the first to admit that longer-form blues albums, especially ones consisting of minimalistic guitar playing and percussion, don't go over well with me. Typically the lyrical aspects are what keep me engaged, but I couldn't even find a reliable translation for the lyrics here. So I'm saying a lot when I say that I loved all 58 minutes of this thing. It's a shimmering album, sun-kissed and Ali's guitar playing is soulful and bright - like a ray of hope in an otherwise bleak landscape. Doing barebones research on the guy, it seems he's a pioneer in this genre - It leaves me wanting to hear some of his earlier stuff, given this was his final studio album released just after his death. The guy's dubbed the African John Lee Hooker, and I see why, I can easily draw a lot of parallels between this and Lee Hooker's Delta blues style.

But even as a late-career pick, the meditative nature, varied instrumentation, and subtle layering in the vocals here do wonders in establishing a soundscape that I can just lay in for days. That's the power of good blues music I guess.

Not sure how I feel about this upon first listening...it was interesting. It sounds ahead of its time with the lowkey, almost whispered vocals, but also very much of its time with many of those subtle late 2000s indie tropes in the actual music here. Many of these songs feel like lead-ups (or even intros) that never develop (heck the most popular song here is an intro that goes nowhere). I didn't hate it - the subdued nature of everything makes the occasional lack of a coherent song structure less noticeable. Aesthetically, it reminded me a lot of Portishead, especially with the female vocals on 'Shelter'. The music composition of this is much different though, with many songs consisting of these, often pleasant, reverb melodic guitar lines (akin to groups like Explosions in the Sky I'd say). The guitars were the best part of this album, my favorite being the ones driving the catchy 'VCR' and 'Night Time' which may be my favorite song here.

It's a minimalistic album, which is cool, you don't often see an album this understated, brooding, and dark do this well in the mainstream, especially not in the bombastic-mainstream-year that was 2009. I appreciate this record, but it's not something I see myself revisiting very often.

This album, and I'd say Herbie Hancock in general, is one of the few that's mastered the art of being really really cool. The music here resonates with the listener not on a spiritual, emotional, or even visceral level - but on a level that's very subdued, not in plain sight but still strongly present...a "bass" level. Each percussive element, drum fill, key hit, bassline, and sax note is sequenced meticulously to ensure that these relentless grooves can go, at times, completely off the rails. This aspect can lead to something undeniably tight and groovy like on the faster vicious saxophone and key solo passages of 'Sly'. Or it can lead to something satisfying like that cute refrain on 'Watermelon Man' that uses space effectively enough to keep the listener slightly disoriented, constantly guessing, but hooked all the same. That key hit acting as an almost starters-pistol for this one particular passage is great... In general, I'd say 'Watermelon Man' is my favorite track here - it's just such an iconic piece of jazz, especially given its bottle flute opening. 'Chameleon' is another song that's just cool - an iconic and funky bassline is at the core of this one, and while it stays in that very repetitive place for a good chunk of the song, it eventually evolves into something unrecognizable with those keys and synth, becoming warmer and more elegant as the track blooms and opens up. Elegance is also the name of the game on the closer 'Vein Melter', especially in those closing minutes. It's easily the least "aggressive" song here and serves to send off an otherwise explosive album.

Very few albums land in this unique space between electronic, jazz, and funk music. Because of that, I'd argue that this album lacks a strong "musical" identity, at least in the traditional sense...that's to say it's very eclectic in its styles and transitions. But there's a kick here, one you get from very few albums, a sense of satisfaction that's difficult to pin down, but is made clear as day when actually listening.

Pretty standard, albeit pleasant-sounding baroque pop. It sounds simultaneously ahead of its time and well past its time, especially on the vocal side of things. But I guess this vocal style is ultimately timeless, and the lyrics are certainly more interesting than I'd expect out of an artist who takes on this sort of grandiose, theatric vocal style. It was the instrumental end that tired me out by the halfway mark - I can only take so much whimsy and strings I guess. It was cool the first time on 'Jackie', but kind of got old after a few songs. It's orchestral and grand but lacks the variety I'd hope out of an album like this. There were a few standouts, the best song here was the acoustic-driven 'Black Sheep Boy'. I also like the groovier horn-backed portion of 'Plastic Palace People', and the sweeping strings in the more ambient portions were nice on the ears as well. And while it's the most generic-sounding song here, 'Wait Until Dark' just did something for me...for some reason. By the end of this album, I also started to appreciate the warmer switch-ups, especially the minimalistic 'Windows Of the World'.

One of those albums that's perfectly okay, and feels like something that'd soundtrack an old movie or something, but it's just never been my cup of tea. But again, I'll give it to Scott, he is a very talented vocalist and a compelling lyricist.

This was so good. It's the type of album I refuse to believe came out when it did, it just sounds so polished, layered, eclectic, and ahead of its time. It sounds like something a 2000s alt-country group like "Songs: Ohia" would release. It's also very rooted in its blues and gospel influences especially with songs like 'Strength of Strings' (which reminds me of Sufjan Stevens oddly enough) and 'No Other' with those choir backing vocals. The songs here groove so steadily and beautifully, like riding off into the sunset on a galloping horse with the wind in your hair. Gene Clark was a member of The Byrds - a band I listened to as a part of this list, but already forgot (mostly) about. I don't remember if he did vocals on that Byrds album, but his vocals here were great - every note that comes out of his mouth carries so much weight, it's as if he's been troubled and in pain for many years leading up to this recording. Yet he's oddly soothing on the organ-backed 'True One' for example. The best song has to be 'Some Misunderstanding' which boasts this album's best, and most existential piece of poetry. The first half is incredible with those atmospheric explosions in the chorus, but the instrumental break in the second half (that's almost Pink Floydian) is what won me over. I can see this song becoming one of my favorites ever - a powerful 8 minutes.

Another album on here that makes me happy, just knowing this exists, and knowing I can listen to it for the rest of my life. I could give a fuck about my inconsistent dumbass rating system for the albums on this list, but I can say for a fact that this deserves a 5.

As a Canadian, I've never felt truly complete knowing that I had yet to check out one of the biggest prog bands (and biggest bands in general) from this country. But that's what this list is for. I've heard bassist and lead vocalist Geddy Lee before though, the guy's a renowned bassist and this album showcases his greatest strength - visibility. While the tone, style, and technicality remind me of Chris Squire of Yes' playing, its presence on this particular album is even stronger, driving the lead melodies on many of these songs. I was a bit indifferent towards his vocals but they grew on me by the time I got to the song 'Limelight', maybe my favorite song here.

This prog album feels like it's doing a lot with very little - which is impressive as is, but with songs that are much shorter than your typical prog song, the respective members also manage to showcase a strong understanding of what it means to be "progressive rock". And I say that because many songs, especially the instrumental 'YWZ', manage to encapsulate all those '70s prog tropes very well. The ever-changing song structures, the unconventional time signatures, the bizarre guitar tones, aggressive breaks, and fills - they're all here in spades. And it's all just very enjoyable and doesn't dabble too long on any one idea or motif. This is an album that's constantly changing and one that values cohesive song structures and melody - things that are oftentimes missing from this genre.

There was something undoubtedly authentic and grounded about Fairport Convention's 'Unhalfbricking' that I appreciated—almost like it was unabashedly human in nature while simultaneously showcasing this near-alien visage. There's a reason they're considered the best British folk rock band of the late '60s - their sound was so dense and each instrument held so much weight in these finely curated mixes. My feelings towards this record are nearly identical to that one. I'd say the song 'Matty Groves' off this album even trumps any other Faiport song I've heard. This record, in general, played up the band's pre-existent psychedelic tendencies - but the minstrel nature of this epic cover of the classic ballad was easily the most hypnotic thing here - boasting lead vocalist Sandy Denny's best falsetto. And she does have such an angelic voice that shines through on this album more than their last - perfectly hovering over these complex Celtic and medievalist grooves. 'Farewell, Farewell' was another highlight here, despite it containing the album's most conventional rock instrumentation, it still very much showcases Sandy's knack for writing these very heartwarming, yet somber lead melodies. I also feel similarly about the closer 'Crazy Man Michael'.

On the lyrical front, I'm not ashamed to admit that it mostly went over my head. It's very allusion-heavy and follows that twisted story-driven style that many Dylan tracks from the '60s did. I'll save my lyrical diving for a second listen, I was just enjoying this experience at face value on this first one. And it was quite the experience, filled with unique genre fusions, evocative imagery, and above all else, the human soul. When I think of the genre "folk music", I mainly associate it with a particular singer-songwriter style. Though if there ever was a band that highlighted that "folk" bit of the genre tag, it'd be Fairport Convention. Because listening to their music feels like stumbling upon something important - even if you're not entirely sure why.

Peak background music - and not even in a dismissive way. It's hypnotic, repetitive, and sort of endearing in many ways. And, given its early '90s acid house identity, I'm sure it'd work really great in any sort of ol' school party context. Wasn't even a huge fan of the rapping or vocals here, though the one on 'Build a Fire' I did enjoy, it may be the best song here given just how different it sounds.

Not going to complain about this particular new-wave punk album, it's rare you find one of these with a lead female vocalist. And yeah, Chrissie is the best part of the album. There's just so much personality and variety in those vocals, fusing that classic swagger on a majority of the first half, and, with the second half, showcasing a softer, more melodic side with songs like 'Stop Your Sobbing', 'Kid', and, my personal favorite, 'Lovers of Today' - all songs that showcase her undeniable range as a singer. Her vocals at times remind me a lot of Justine Frischmann or PJ Harvey - though obviously, she predates them by nearly a decade.
Instrumentally, the album sounds remarkably of its time, especially in the first half with those guitars on 'Up the Neck' for example. I didn't mind it though, but most of my highlights were in the second slower half... I especially liked that hypnotic groove on 'Private Life' - which sounds almost proto-dream-pop with all that guitar reverb. Though my favorite song from an instrumental standpoint is one of the punkier ones with 'The Wait'...I love that bassline on the chorus paired with Chrissie's near-incomprehensible vocals. And that noisy explosion in the song's closing minute or so is easily the most fiery moment on the entire record. The huge song off this album 'Brass in Pocket' was pretty catchy, and groovy - though it does sound like the most radio-friendly song here. To me, the song seems to be about one's dwindling image of self in the presence of a lover they deem more important or worthy.

I do think it's a tad long for its own good, but either way, I was grooving all the way to the end of this thing. Can see myself returning to it in the future.

Maybe the most I've enjoyed Elvis Costello so far - though I'd still say I'm not won over. Songs like 'Oliver's Army' and the bubbly 'Big Boys' were obvious highlights, but it wasn't long before Elvis' tedious vocals and lyrics started getting to me. 'Goon Squad', for as grand as it yearns to be, is far too cluttered for my liking, I'd say that's true for a good chunk of the songs here. It was still one of the better songs, certainly better than 'Party Girl' and the painfully uninteresting 'Busy Bodies'.

It's art rock that is simultaneously not artsy enough to be interesting but too artsy to be fully tolerable. What's left is a decent listen, yeah, but god, it's all so disorienting and messy. It still does have that Costello colorful presentation going for it, which I always somewhat enjoy.

Some of the most pleasant country music from this list so far. So warm, yet muddy, and Emmylou's melodies are some of the most soothing I've heard from this strain of alt-country. It's almost unsettling how these acoustic and electric guitar melodies linger in the mix, floating like lost souls - especially on the title track and 'Bang the Drum Slowly'. The lyrics are nostalgic and melancholic - or maybe it's just Harris' knack for these hole-in-your-heart-inducing melodies that make you realize you're not actually as happy as you think you are.

In a lot of ways, I have very little to say about this album. I'd go as far as to say that there were very few "standout" moments. But it's all just so peaceful, like the sight of a warm shack in the middle of a damp forest. And then I'm lying on a couch in that shack, by a crackling fire. Good music!

You know, this sophomore Black Sabbath record has always been one of THOSE classics, the one where, maybe, on a purely conceptual level, its slow and sludgy presentation always turned me off of it ever-so-slightly, it's just never been MY style. But when it comes time to sit down and listen to the thing, I can just fucking hear it, I can hear all of why this album is so beloved. I'd say it usually clicks on that faster switch-up on 'Electric Funeral' with those squawking guitar hits right before the song, once again, muddies itself in that swampy riff that evokes this lethargic and almost comatose-inducing feeling within my gut. 'Paranoid' is just flat-out catchy, like a banger rock tune with some of the most haunting Ozzy lyrics out of ANY Sabbath song. The other huge song, 'Iron Man', I'm maybe more indifferent towards as a standalone track, I've never been a fan of that lead guitar and synched vocal melody, though in the track listing here it works really well in reigniting the album's momentum after the slower 'Planet Caravan'. And I do like 'Planet Caravan'...it's a much-needed, Black Sabbath-standard, slow switch-up - it's ethereal and warm, something the rest of this album is very much not. Case in point, 'Rat Salad', which if the name isn't raw enough for you, its short instrumental run-time sounds like an atonal punk track trying its hardest to squeeze its way onto a large radio station's queue, all while its ugly personality can't help but rear its head.

The two undoubted highlights for me though are the two "two-part" songs here. First is 'Jack the Stripper / Fairies Wear Boots', which may have my favorite intro on the whole thing with that reverb guitar and tribal drum pattern. More than anything though I love how well it works with Ozzy's fantastical and dream-like imagery, especially as the song comes to its explosive closing and his insane ramblings come to a head. Then there's the opener 'War Pigs / Luke's Wall' which may be one of the greatest songs of all time. I just love everything about it. The ominous opening with those atomic sirens, the lyrics painting the destructive nature of the world's governments, as the ones who pull the strings hide behind the ones pulling the triggers. And maybe the most horrifying part is how many of these pigs will die peacefully, likely of old age, with no charges brought against them - but Ozzy almost seeks solace in the fact that they will pay their dues come Judgement Day. And when I call the music on this album dramatic, I reference moments like this song's opening 2 minutes with that effective tension-building and unpredictable song structure, right before it bursts into that sharp groove.

I haven't listened to this album enough to dub it "memorable", but every time I do put it on it's just so much fun to get through. Well maybe not "fun", if there's one thing this album is, it's unabashedly dark and troubled. But it's a familiar kind of darkness, one that takes the shape of this addictive classic rock album. Like Iommi's constant riff switch-ups, those fat, melodic basslines, Ozzy's wailing vocals, and those staccato, stuttering, dramatic, and fill-heavy drums are like fucking crack. 'Paranoid' lands perfectly between those late '60s hard-rock sounds, and the sounds of '70s metal to come...a sweet spot very few other bands (and even albums) have ever found themselves in. This is what rock music was always meant to be.

Decent southern-soul rap that fuses the best of the early 2000 southern hip-hop worlds - with the sounds of tight, crisp, Neptunes production-backed artists like T.I, and the eccentricity and southern pride of the music of Outkast and CeeLo's former group Goodie Mob. The execution does still leave a lot to be desired though, everything here gets repetitive fast, though thankfully CeeLo's seamless transitions between soulful singing and talk-rapping always remain a highlight. This record falls into the early 2000s (southern but also general) hip-hop trope of being longer than it needs to be, pairing the genuinely great moments here with poorly-aged slop, with a song like 'Childz Play' being damn-near unlistenable...Ludacris aside. There were some strong highlights, like 'The Art Of Noise', and I liked 'Scrap Metal' with CeeLo delivering this infectiously "over-the-top" vocal performance on the chorus. And the one-two of 'When We Were Friends' and 'Sometimes' may be the most heartwarming moments on the album, boasting some of the record's best production; with these flute and string embellishments driving the latter.

While it starts strong, its bag of tricks is emptied quickly. What's left is enjoyable, yes, but uninteresting to say the least. A good amount of southern artists were doing this sound significantly better.

Considering how much I enjoyed Peter Garbriel's '80s art-pop masterpiece 'So,' I was hoping I'd get at least some of the same enjoyment out of this one. It's certainly more country and rock-influenced than 'So', and sometimes it works exceptionally well like with the huge song 'Solebury Hill', an unbelievably hearty and soulful cut, or the explosive closer 'Here Comes The Flood', which has this soaring guitar solo sending it off. But other times, like with 'Modern Love' where you're getting these tacky arena-rock sounds, or 'Humdrum' which may have the most unflattering mixing on the entire album, the music really starts to show its age. It all felt like a scattered mess, with no discernable sound or direction. The songs were long but they never really went anywhere structurally, and they tend to meander around these uninteresting ideas for far too long, especially with a song like 'Slowburn'.

I would say I'm sad, but knowing how much better Peter's music would get is at least somewhat comforting. This is a debut after all, and despite having never heard Genesis, I assume this takes a lot from that band's sound.

Some gorgeous pop, electronic, and folk fusions presented here. This is my introduction to Goldfrapp, and while at first, I couldn't figure out what direction their sound was going in, I got a better feel for it as the album started to wrap up. They certainly sound like a lot of their contemporaries from the late 2000s indie scene, but I do find many aspects of this have aged really well, especially when it comes to the vocals. I loved the sweetness of tracks like 'Happiness' and especially 'A&E', a pop marvel that'll remain in my rotation for the foreseeable future. 'Cologne Cerrone Houdini' gave subtle trip-hop vibes with those string hits, and, alongside 'Eat Yourself', had Alison sounding a lot like Beth Gibbons to me. 'Caravan Girl' may have my favorite production on here, with it really amplifying those art-pop and electronic fusion sounds, even adding a bit of distortion.

A great little pop experience, and one that's ahead of its time in many ways.

I'm sorry I can't hate this. I've heard so much music, that when I stumble across something that sounds this unique, and just flat-out surreal, I have to praise it. I really like the art behind the Residents, they have a pretty cool anonymous thing going, and when skimming through their music videos, I was happy to see that their colorful visual aesthetic matches their dream-like sound. This is real "dream pop"...last I recall, my dreams aren't pleasant and drenched in reverb, they're nonsensical, surreal, and, more times than not, inspiring - kinda like this album.

Don't get me wrong though, I kind of wanted this thing to end about halfway through. But the journey was an intriguing one, even if choose to never embark on it again. The best songs were 'Semolina', 'The Electrocutioner' and 'The Booker Tease'