Reviews by mkaddour2001

I'm a huge fan of this late '80s/early '90s native tongue sound and I know that the Jungle Brothers were hugely important in this movement. But the whole time while listening to this album, I just wanted to throw on A De La or Tribe album instead. The production on the album here isn't as colorful or fantastical as your average De La album, and the loops aren't as engaging as ATCQ's. The rapping is solid, and on par with the members of those respective groups, but the songs are often bogged down by these unflattering choruses, especially on a song like 'U Make Me Sweat'. The song 'What U Waiting 4' was painfully cheesy as well, I wasn't a fan of the dance approach that a few of the songs here went in. There were still some highlights though, like 'Acknowledge Your Own History', a song about the whitewashing of school-taught history. The instrumental song 'Good Newz Comin'' may have the most standout production here, it has that eccentric, "all-over-the-place", Coldcut reminiscent production that I was hoping for out of this album - I love the bright guitars closing it out on those cluttered drums. 'Tribe Vibes' picks up the speed, momentum, and energy - and holds the album's best rapping performances. Come to think of it, the second half was much better than the first - it does contain 'Doin' Our Own Dang', a song that reminded me of Digable Planets a lot, and just like on Queen Latifah's 'Ladies First', it showcases Monie Love's impeccable flow.

Some decent moments here but it's not quite as memorable as other albums of its ilk. While goofy, and fun in essence, the music backing it all lacks the character I was hoping for.

I'm honestly empathetic to people who can't stand the idea of pop-punk. "pop" and "punk" seem like antonyms in many ways. But I don't think it's inherently bad when ideas of social awareness, consciousness, and empathy are spread to the masses through catchy tunes and polished production - especially during a time as uncertain as the post-9/11, Iraq Operation dominated, and Bush-administration run 2000s. Was Green Day the most effective in doing this? No, not at all. I can name dozens of hip-hop, punk, and even electronic artists who did a much better job of capturing the horrors of this time. But I don't think any were as commercially successful as Green Day with 'American Idiot', I mean just look at those streaming numbers. While I prefer my punk unpolished, dirty, and relentlessly noisy, even I can admit that there's a lot to love here. The opening title track may be one of the best pop-punk songs of all time, topping anything on Green Day's 'Dookie' even. But what follows is a pretty hit-or-miss concept-driven prog pop-punk album following the "Jesus of Suburbia", a man infected with those post-9/11 blues, as he falls into a deep depression and even dabbles with drug usage by the time the songs 'St. Jimmy' and 'Give Me Novacaine' come along. And I guess that's what initially rubbed me the wrong way about this thing, it's an album that focuses on the struggles of the average, seemingly well-off, American as opposed to the struggles of the ones in the direct line of fire of the American military for example. I don't see it that way now though, or maybe I do, but it doesn't bother me as much, at least not during the first half. But by the time JOS meets that rebel girl, and the cheesy-as-all-hell 'Extraordinary Girl' comes along, I roll my eyes. Maybe I don't get the whole thing, maybe it's all meant to be subtly ironic - the name "Jesus of Suburbia" and even "American Idiot" certainly hint at some level of irony. But if that's the case, why waste so much time building the protagonist up to be this tragic figure? Maybe I'm looking into it too deeply and trying to turn this album's concept into something it's not. Green Day's audience is predominantly young white Americans I'd assume, so targeting this concept toward their struggles and feelings of emptiness in an oppressive world only makes sense. And it's always a good sign when you can feel sadness at the ideas of oppression, even when they don't affect you directly, and Green Day captures those feelings quite well here, so for that, I'll still praise the concept of this thing, at least a tiny bit.

So yeah, I'm a bit iffy on the concept. And even the playing here I'm very indifferent towards - it's standard. I do like the song 'Letterbomb' from an instrumental standpoint, with all its Husker Du'isms (20 years after the fact...god that band is good...). I'm maybe less partial towards the slower-ballad type tracks, or momentum-killers as I like to call them, especially the overplayed 'Boulevard of Broken Dreams'. I used to feel this way about the song 'Wake Me Up When September Ends' as well, but after learning about the pretty sad backstory of this song, I've started to appreciate its softer approach. The thing I love the most about this album though, by far, is Billy Joe Armstrong's vocals. I mean I love this vocal style in general but, on this album specifically, every damn song is unbelievably catchy, to the point where it's not even fair. It's fun, and the album's near-hour run time flies by - and a ton of these songs have been in my rotation for as long as I can remember. SO, for as cynical as I am towards the social commentary turned teenage drama concept of a record like this, I still ended up forming an almost guilty pleasure relationship with it. Or maybe "guilty" is not the right word, I do still wholeheartedly believe that the title track, 'American Idiot', is incredibly iconic and even "important(???)". Also, the pop-punk music here, in general, is very influential in this genre.

Perhaps the best way to describe this album is 'interesting.' It's certainly a period piece, but how well it has aged is entirely up to the listener to decide.

Political is the word. There was no shortage of political hip-hop around the time of this record. Still, on the lyrical front, something about it stands out as particularly poignant, sharp, and direct compared to everything else from around its time. Its lyrical directions are more reminiscent of punk - with the opener 'Satanic Reverses' being particularly sharp. 'Famous and Dandy' seems to talk about mindless trend-chasing, a song that targets the hip-hop community directly. The sentiments of the song 'Television The Drug Of The Nation' are only amplified in today's social media age and the cyclic storytelling and ironic twist of 'Language Of Violence' were effectively conveyed. 'The Winter Of The Long Hot Summer' deals with the military-industrial complex and foreign policy - a rap that could be uttered today and be just as, if not more on-point in its messaging. The same goes for 'Everyday Life Has Become a Health Risk', 'Financial Leprosy', and pretty much every other song here. Shit doesn't change does it...like 30+ years later.

So yeah, lyrically, it was very "enjoyable". I just wish it was more interesting musically speaking. The main rapper, Michael Franti, has this deep, yet very laid-back delivery style - one that creates a strange dissonance when he's calmly delivering these politically-heavy topics. It's parts spoken words, with an almost preachy edge, though it never comes off as ham-fisted. And yeah, I'll say it, he does sort of sound like Chuck D. Instrumentally, there were a few standouts, though I do wish it had more to offer. The production seems to take a backseat to the lyrics here and sounds relatively standard for the early '90s. But I guess that's the thing, there are times when I have to remind myself that this WAS released in the early '90s and not the mid-2000s, so the sort of laid-back production just tends to catch me off guard, despite it making sense in this context. With that said, I still liked 'Television The Drug Of the Nation' and 'The Winter Of The Long Hot Summer' is oddly experimental and ominous for its time. 'Music and Politics' also goes in an interesting drumless slap-guitar direction, and I didn't even mind the singing of this song.

The music wasn't all that much, sure, but I can't not love this album given just how on-point it is on the lyrical front. I've never liked this idea of enjoying music just because you heavily agree with what's being said in the lyrics while ignoring the actual music - it's why idiots like Tom Macdonald get popular. The difference here (by no means comparing this to Tom Macdonald) is that the music is generally good, but also that there's so much conviction in Michael's delivery. But maybe most of all, it's the fact that no one was rapping like this at the time, and I've heard a lot of '90s rappers. Again, while politically loaded at times, I really appreciate the passion behind an album like this - a passion and selflessness perfectly summed up with the closer 'Water Pistol Man'.

Sophisti-pop is a new music term I learned today. For as familiar as the sounds on this album are to me, especially with the song 'Second-Hand Woman', I struggle to link it to any names at this very moment. Either way, I'm always down for a good little pop album so I dug this. It's filled to the brim with sweet melodies and even sweeter instrumentals - whether funky like on the title track, disco and dance like on 'Night Train', or delicate and soulful like on 'Slowdown Sundown'. Maybe the song that blew me away the most was 'Night Train' which has (ahead-of-its-time) ambient house elements, especially with those hi-hats. But the entire thing also sounds like it could fit very snuggly into a Talking Heads album...It's that white funk.

Shiny, bright, and sunny all the way through - the stuff ears are made for. So ear-candy.

Well, at least it's not British. I actually really liked the other Rufus Wainwright album, 'Want Two'. It just felt like really artsy art-pop that also didn't sound artsy at all...but easily digestible and charming. I still listen to the song 'The One You Love' from that album frequently. Nothing here hits that same high, aside from maybe the opener, 'Oh What A World', which had a nice crescendo and build-up. Most of this album really just gave me '90s Radiohead vibes, which wasn't always bad...'Go Or Go Ahead' with all its Radioheadisms was one of my favorites here. It's the vocals mainly. There were a few other songs I liked here, like 'Beautiful Child', but it felt like for every good song in the track listing, there was a forgettable one.

I guess the most impressive thing about this album is just how timeless it can sound - like it really doesn't suffer from many of the early 2000s tropes plaguing the art-pop scene. 'Vibrate' was particularly impressive in that sense, sounds very modern.

God, this was so awesome. It's like the perfect '70s pop-rock album. It's not unlike Bruce Springsteen's music in many ways, though I prefer the more rustic-feeling production here. It's not as shiny as, say, 'Born to Run' but it still has that fine polishing layer you'd expect out of a superstar artist like Billy. The instrumentation is gorgeous. This is classified as piano rock, but there's more to the story, this isn't Jerry Lee Lewis-type piano rock. 'She's Always a Woman' for example has this delicate acoustic guitar intertwined with its sweet core piano line. It's a soft song while the ambitious 'Scenes from an Italian Restaurant' goes in a "jazzier" direction. It's such a nuts song, constantly switching instrumental directions, nicely complementing its cinematic imagery. This song may also have my favorite vocal performance on here. 'Movin' Out (Anthony's Song)' was a great opener but it pissed me off because I knew for a fact I'd heard that chorus before, but I couldn't for the life of me figure out from where. 'Vienna' reminded me a lot of 'Desperado' by the Eagles and especially Cat Steven's 'Father and Son' given that it's one of those comforting "advice" type songs - it's sweet.

So yeah, good shit. No idea how I slept on Billy Joel for so long given the fact that he's like the fourth highest-selling solo artist in the US or something. There's a reason people dig him but better late than never I guess.

Honestly, it's pretty good stuff. I've never been opposed to getting introduced to a band through their live performances - it's like going through a greatest hits record, except you also get to gauge the band's level of musicianship. From this listen alone, I get a heavy pop-rock vibe, though with an obvious emphasis on heaviness, sort of hard-rockish but with hair-metal and glam-rock undertones. By the end of this, it became a matter of how many songs I ended up enjoying. I liked 'Come On, Come On' a lot and 'Lookout' was pretty good too. The long outro of 'Need Your Love' was the highlight of that particular song, and maybe the heaviest thing here - but I couldn't stand that vocal hook at all. Those three were the most memorable things here - I didn't like the second half quite as much, though the crowd singing along on 'I Want You to Want Me' was pretty cute - and the song itself was pretty cute.

I can't compare the live recordings to the actual studio versions (except for 'Come on Come on' that I did listen to, and I can confirm that I like the live version more) but I do think this band benefits in a live environment. The whole live performance here felt pretty go-lucky and in good spirits, for what that's worth. Might end up listening to more Cheap Trick in the future.

Decent Cuban Rumba music. Given its date, I wasn't too shocked at how rudimentary, skeletal, and sort of tribal it was. In a sense, it's sort of hypnotic, especially when looking at the extreme with a song like 'Simba' with those occasional cries and entrancing conga drums. On the other end of the spectrum, you have a song like 'Choferito-Piena' which may be the catchiest and most melodic song here. Sounds like a song that'd fit snuggly on a Columbian party mix or something. If we're talking a perfect balance, nothing beats 'Rhapsodia Del Maravilloso' for me, impeccable guitar work over that relaxed rhythm section.

Cool album, though it didn't do much for me - it's not something I would revisit.

One of the most important pieces of sound ever put to recording...historically speaking and also to me...personally. To say my ears weren't ready for this when I first listened to it would be an understatement. My melody-seeking ears weren't primed for anything this rugged, filthy, and unrelenting in its consistency. But it took only a few listens to awaken something in teenage me, and for that, this album will always remain a personal favorite.

Not going to dabble into this album's historical context 'cause it'd be redundant at this point, you can read up on it in a billion different places, though I recommend the RZA-authored 'Tao of Wu'. But setting the scene, it's the early '90s in Staten Island and this group of 9-or-so emcees drops this tight little package filled with the dirtiest hip-hop to date. No studio polish and no large production crews, just 9 dudes sounding as unique as 9 different dudes on one album can possibly sound. Oh yeah, and they were taking up this idiosyncratic role of masked samurais if you couldn't pick up on that already from the name of the group being "Wu-tang" and the album cover. I'm sure this thing blew everyone away when it came out, 'cause I know it blew me away 20+ years after it was released.

With all that out of the way though, I've decided to structure this review by talking a bit (hopefully) about each of these 9 "dudes".

RZA: Alright I'll throw all my production gushing into this section because RZA is the mastermind behind it all. This guy's the greatest producer in hip-hop history, bar none. This album is a testament to that, but so is the rest of the '90s Wu-tang solo run. It comes down to simplicity, it's like the opposite of what makes an album like 'It Takes a Nation of Millions to Hold Us Back' by Public Enemy so great. On these songs, you've got one strong, usually off-kilter, and very personable sample looping over and over again. Not uncommon for hip-hop...sure, but the real talent here is with just how good the one-bar loops here are, they're insatiable. The bass on 'Shame' followed by that clunky, cluttered brass section on ODB's chorus portion may be the feistiest thing here. The sinister keys on 'Da Mystery of Chessboxing' leave so much open space to evoke this feeling of being in a large, dark, echoey room...and not knowing where the enemy will strike from. The weird vocal sample on 'Wu-Tang Clan Ain't Nuthing to F'Wit', for as cartoony as it is, is quite ominous, and nicely contrasts the generally "cheerful" bass and snap sounds the rest of this beat is composed of. The piano on 'C.R.E.A.M' is iconic and the keys on 'Method Man' make the entire song sound like the theme song for a big bad cartoonish villain. I love the entire beat of 'Protect Ya Neck', it's the weird little clips that fade in and out, like the piano, weird high-pitched theremin thing, and that menacing string sample. While the beats are repetitive, you do still get these cool little clips on top to give them a more dynamic feel. The opener 'Bring Da Ruckus' for example, may be the most dynamic beat here, but the little cartoony horn sample thing that comes in near the beginning of the GZA's verse is such an incredible little touch. And, on the "censored" version of 'Protect Ya Neck', those electric guitar hits on the swear words make me prefer that version to the uncensored version. And those martial-arts movie samples are just as essential to the world-building here as the music and lyrics, whether they're intertwined with the beat itself like on the "Tiger Style" vocal samples of 'Wu-Tang Clan Ain't Nuthing to F'with' or whether they're just there to introduce or send off the song like the "Game of Chess" sample on 'Da Mystery of Chessboxin''.
So yeah, the RZA is a genius producer, but also I love the guy's rapping voice. It's ahead of its time, and quite unconventional. He's not as present here as on say Gravediggaz '6 Feet Deep', but his yelp-style still allows him to stick out whenever he does appear. My favorite verse of his is the emotive one on 'Tearz' as he details the murder of his little brother.

GZA: GZA has always been my favorite Wu-tang member lyrically speaking. I'll talk about 'Liquid Swords' when the time comes (an album I like even more than this one), but god damn the dude can rap. He's lowkey, his delivery isn't bombastic or in-your-face like the many other guys here. He's heady which makes sense given the fact that he is the "head" of the Voltron formation that is the Wu-tang Clan. He doesn't rap on here as often as I'd like, but he is one of two rappers that gets his own song with 'Clan In Da Front', a great spotlight track. But it's his verse on 'Protect Ya Neck' that has him coming at major labels that's my favorite. It may even be my favorite verse on the entire album.

Method Man: A deep, kinda lax delivery style in an album this full of viscera can easily end up bogging down the whole thing, but Method Man manages to pull this off spotlessly. He does great on the hooks, with 'C.R.E.A.M' and 'Mystery of Chessboxin' but his standout moment on this album is his spotlight track, the aptly named 'Method Man'. Laugh all you want at the ridiculousness of the rhymes here, but it's just how impeccable his delivery is under that menacing piano line that makes this song one of my favorites. I really like this dude's rapping, makes me sad that he's the punching bag of the group on the opening skit on 'Wu-Tang: 7th Chamber'.

Inspectah Deck: The unfortunate story of Deck relating to his solo album being one of the many victims of the studio flooding in the mid-90s has always made him less memorable for me outside of this album. But that's never made his rapping any less incredible, in fact, I'd say he's one of the strongest rappers here. I think the guy's style is no style, he just always comes in guns blazing with his verses like with his opening verse on 'Protect Ya Neck'. And you don't get one of the two verses on the seminal 'C.R.E.A.M' by being a weak rapper. In this song, Deck tragically details his crushed dreams as a child at the hands of incarceration and drugs, as he urges the youth to not make those same mistakes. It's a standout and heartfelt moment on this album that always gave the entire thing this melancholic edge.

Ghostface Killah: Maybe the most addicting rapper to listen to on here. The way the guy seamlessly strings together phrases, references, and bars is invigorating. There's a reason he gets the first (and last) verse on this album. His best verse has got to be his one on 'Da Mystery of Chessboxin'', pure rap battle bliss with that one. He's another guy who values delivery above anything else, the guy could be saying practically anything and he'd still make it sound badass. His introspective side comes out too on 'Can It Be All So Simple', a reminiscing track, and on 'Tearz' where he raps about his friend's HIV infection, with his closing lines being almost haunting as he captures that dreadful feeling of imminent death at the hands of the virus.

Raekwon: Rae and Ghost have always been very close-knit, yet their styles couldn't be more different. Raekwon, like GZA, is very lowkey, his defining characteristic is his rasp. But he still manages to do the battle rap thing just as well as Ghost, going toe-to-toe with him on 'Da Mystery of Chessboxin''. But it's not a question, his best verse is on 'C.R.E.A.M', where he drops one of the most descriptive story-telling raps of the '90s.

Ol' Dirty Bastard: R.I.P. to this man, there is no other rapper, and there never will be another rapper like ODB. Saying he's fun to listen to would be the understatement of the century - the guy's hilarious. I mean what rapper uses the line "Dirty, I keep shit stains in my drawers so I can get fizzy-funky for ya". None, the answer is none, no one, except ODB. He's another rapper who's not on this album enough, but his verse on 'Da Mystery of Chessboxin'' makes up for it, it's the equivalent of a hundred verses. He also has my second favorite verse on 'Protect Ya' Neck', such a badass re-entry after that interlude.

U-God: U-God is not super present on this album, but when he does show up, it's a nice change of pace, adding another unique voice to the already colorful Wu-Tang cast. The verse everyone talks about as his best is his opening on 'Da Mystery of Chessboxin'', and I've always been inclined to agree - it's a very strong, hulking intro to this monster of a song.

Masta Killah: Literally gets one verse on here but it's one of the best verses on the damn album. Of course, again, it's on 'Da Mystery of Chessboxin'' but the damn thing is so memorable. He comes in with such a complex flow, constantly overstepping the bar line while hitting the listener with non-stop martial arts wordplay. I've always found he's super underrated, his 2004 solo album, 'No Said Date', is great.

So that's all nine of the dudes here. They all rule. Wu-Tang Clan's 'Enter the Wu-Tang (36 Chambers)' is, indubitably, one of the most unfuckwithable pieces of art to grace us humans. It's addictive, it seeps into your veins, your mind, and your consciousness and refuses to leave. And it's not just this album, the entire '90s Wu-Tang run (solo and group) is just as strong as this. There really is nothing like the Wu-Tang Clan.

(No I'm not overselling this thing)

'Ladies First' is one of the best and most important hip-hop songs in the genre's history. It's the only song I knew of this album before this listen, a hip-hop feminist anthem backed by a crunchy bass and even chunkier drum beat. I love Queen Latifah but it's always been Monie Love's flow here that won me over. But it's really the back-and-forth between the two Emcees that's the hook here.

Unsurprisingly, the rest of this thing is quite strong. It perfectly balances Afrocentricity and social consciousness (especially on 'Evil that Men Do') while still maintaining a strong braggadocious edge. Like Chuck D, Queen Latifah has a strong, authoritative voice, and a super enjoyable, expressive delivery style. The beats aren't all that unique, but there are some standouts - I really like the production on 'Mama Gave Birth to the Soul Children'. The house direction of 'Come into My House' was enjoyable...a genuine banger with that one. The reggae tone of a song like 'The Pros' was another standout moment, I like that strange synth sample on the hook. I enjoy the ragga hooks whenever they crop up in general, my favorite being on 'Wrath of My Madness'.

Solid '80s hip-hop, any fan of this style will find something to enjoy here.

It's alright, but this is an album where it feels like something is missing—not in the music per se, but in the experience as a whole—like there's meant to be a silent film or tactile activity accompanying it. Like I'd love this at a restaurant on a night out in the city! I'd say that's a general feeling I hold toward most big-band music. Obviously, this was released in the late '50s and it does have some interesting percussive elements to give it that rhumba edge - but still, I can't say it does very much for me. I did like the break on 'Cannonology' and the opening minutes of 'Frenzy'. The latter may be my favorite song just because of the percussive diversity in the breakdown portions - it all sounds so fiery. Horn-wise, I love the smooth and delicate nature of the song 'Tin Tin Deo' the most.

The musicianship is there, it's grand, and it takes me places - but I found myself enjoying the percussion a lot while wishing the big-band horn and jazzy elements were a bit more varied and interesting.

Street lights, a soft breeze on an autumn afternoon, a grey sky, a light drizzle, and a lot of hope...I don't think I can express how much I love this opening title track. It's really that ethereal, beyond-life string section in the second half that feels like the musical equivalent of going through life with perpetually teary eyes. And the way the core melody is flipped to the punchy 'What's Happening Brother', while still sounding wholly unique is something out of this world. And I think that's what Marvin Gaye's album here is, out of this world. Gaye's view on the planet, its state, and its people is refreshing - absolutist, but nothing short of genuine. He sounds like a man who cares, especially on a song like 'Save the Children' where he delivers a message so obvious, a message universally "accepted", yet time and time again, and 50 years after this album's release, we come to see that the obvious isn't actually all that obvious. If we start to perceive Marvin's "idealist" views on the world as shallow, or even "idealist" - then the bare minimum will always seem out of reach. God, there's so much love on this album, it burns.

Not to mention how this sounds like it came out in the late '70s as opposed to the early '70s, music was not sounding this lush around this time. The keys, the harmonies, the bongo and conga-based rhythms, the seamless transitions, and, Marvin's soul-scratching vocals merge into one another so beautifully. This is an album that unveils life's deeply buried treasures. This is soul music, music that gives you hope for the impossible, and music that will make you feel seen.

This was my first favorite PJ Harvey album, and given how well-rounded it's capable of being in its less than 50-minute runtime, I've never really had to question why. Despite being easily her most accessible, this album also showcases everything that made her '90s run so legendary. This lady, in less than a decade, went from punk-rock to blues-rock to trip-hop—and on this record, there are hints of each and every one of those various dabblings. 'Big Exit' sounds like something off of 'Dry' but more melodically catered to the mainstream, and 'We Float' sounds straight out of 'Is This Desire' in all its trip-hop glory. The direct alternative single here 'This is Love', sounds like something off of 'Rid of Me' - especially given its more aggressive lyrical themes and performance.

I don't want to reduce this album by calling it a "poppier" version of all her previous sounds. This is a very solid indie-rock album in its own right, in fact, it's one of the best of its time I'd say. 'Good Fortune' is one of my favorite songs of hers. It's so optimistic and nostalgic, and that chorus is such an earworm. "Nostalgic", in general, is a really solid way of describing just about everything here, 'A Place Called Home' effectively evokes that feeling of something missing, but you're not quite sure what. There are times on this album when it feels like it follows PJ's fixation on this one very pleasant moment in time, and her attempts to grow past it, all while still reminiscing on how complete it made her feel. I like to imagine that "moment" as a night in the city, spent with someone you love. 'Good Fortune' is maybe the most direct portrayal of this - capturing just how happy she was at that time when everything was perfect, though it almost feels too perfect as if she's glorifying the past. 'Beautiful Feeling' is on the complete opposite side of the spectrum, PJ sounds so defeated now that the special moment, and the person she associates it with, are gone. 'The Mess We're In', the second song here with Thom Yorke, captures that longing between two lovers who are now apart and grasping, again, to try to recreate something as meaningful as that one "moment". It's an incredible duet too, the part where Thom is melodically wailing and PJ comes in with her smooth "The city sun sets over me" is one of the most euphoric moments on this album. 'You Said Something' had to grow on me, but I do like it quite a bit, it plays a crucial role in establishing this album's themes, capturing that "perfect moment" down to an exact location, time, feel, smell, and set of words.

I also really love the last two songs here, they're so mellow, and 'Horses in My Dreams' could haunt just about anyone with just how accurately it captures this idea of being forever free from something (or someone) that's been burdening you for far too long. And 'We Float' is just an incredible closer, it uses the same "Float On" metaphor as Modest Mouse (in 2004) to describe this idea of taking life one step at a time. This song makes me very happy.

PJ Harvey's talents don't need to be stated, her vocal range is insane, and this album is easily the best portrayal of that. My favorite vocal performance has got to be on 'The Whores Hustle And The Hustlers Whore' which may even be the best track here, despite it not (really) playing into this album's overall theme. It's more of a commentary on the tortured lives of other human beings who've been cast down by a ruthless city. The chorus is incredible and her crying vocals closing it out are so mesmerizing - they give me goosebumps every time I get hit with them.

Production-wise, I do wish it was more consistent at times, but then again that's only a gripe when I'm comparing this album to her other ones that do a better job of sticking to a singular sonic motif. For what it is though, the production here is luscious, endearing, and very soft (not quite soft rock soft though - thank god). A very unique and important album from one of music's most forward-thinking and layered singer-songwriters - and I'll always love it wholeheartedly for introducing me to her music.

When it comes to listening to blues music, even when it's by legends like John Lee Hooker, I've got to be in a state where I'm prepared to just sit down and breathe. Luckily, I was in that exact mood this time around. The blues style is one that excites me and I can usually get some decent mileage out of these records, despite their often repetitive nature. This album, however, does a great job of not being repetitive while still sticking to a fundamental blues style. Say for maybe the opening song with Santana, nothing here feels particularly '80s either, which is cool...the grit, soul, and finesse of classic electric delta blues and country is still very much present. I really liked the big-band-backed 'Think Twice Before You Go' which was one of the more immediate songs here. On the opposite side of the spectrum, a song like 'Rockin' Chair' sounds like an old man sitting on a chair, outside in nature, with his acoustic guitar riffing through his sadness. In fact, the intimate turn on the final few songs may be the best part of this entire album, with my favorite song being 'My Dream' where John sings about that dreadful feeling of dreaming about someone from your past only to then wake up. He does have a way with words, painting the feelings of love and intimacy in a very fundamental and grounded manner. Kick-ass blues music.

I fuck with this shit HEAVY. A 40-minute instrumental noise-rock album that's utterly relentless is the type of music that excites me. There's obviously a sweet spot, anything too abrasive or long won't work for me, not on a first listen at least. Something too short and melodic on the other hand isn't nearly potent enough to have the inebriating effect an album like this had on me. I'd say 'Wonderful Rainbow' hits that sweet spot for the most part. There's rhythmic cohesion here, and even the occasional melodic riff - but for the most part, you're just getting this headbang-inducing dissonant cluster of noises. '2 Towers' may be my favorite song, that distorted riff matched with that simplistic drum pattern and occasionally drum fill is something I can listen to for literal hours. I love how tribal the openings of both 'On Fire' and 'Longstrockings' are - the latter of which, despite devolving into absolute chaos in its final minute, may be the most accessible piece here going in an almost post-hardcore direction.

I don't really know how this album made me feel by the end of it, it's almost dreamlike but at the same time very much based in reality. All I know is that I enjoyed it...it's raw as hell. Lightning Bolt really is a fitting name for this group.

If there ever was an album that I just NEEDED to re-listen to, it would be Portishead's debut album 'Dummy'. I listened it to about 4 years ago for the very first time, and while it didn't immediately click, it did make me feel something that very few records ever have. I mean this album nails its particular aesthetic on absolutely every song - those dreary guitars on 'Mysterons' and the following 'Sour Times' are nothing short of haunting especially when paired with Beth's ghostly vocals that sound like they're echoing out from the bottom of some cold well in the dead of night. I can't overstate how much this album clicked for me this time around, it has that definitive '90s trip-hop sound while simultaneously sounding like every modern-day electron-backed singer-songwriter artist, especially on a song like the cozy 'It Could Be Sweet'. The drum programming here, while synthetic, is what elevates this album to its uncanny peaks. The snare hits bash the mix on many of the songs here, especially on 'Wandering Star' - maybe the catchiest song here despite it being paired with some bone-chilling imagery. Maybe the best thing about this song though is how unabashedly golden-age hip hop those funk samples are, and how their upbeat nature almost clashes with the coldness at the song's core - it creates a strange dissonance that works in creating something wholly unique and even frightening. The song 'Pedestal' feels similar, hitting the listener with a little saxophone solo halfway through. This particular song feels like you're sitting in some sort of dilapidated, run-down jazz club in the middle of some rural town. The organ-driven 'It's a Fire', as its title suggests, feels warmer than anything else here but the thing I love about this album is that no song feels truly "safe", there's always something off with the tones, keys the band chooses to play in (especially in those dramatic string sections), and the lyrics.

My two favorite songs however come near the end of the album. First is 'Roads' which has easily the best string arrangement on the entire album. The feelings of debilitating isolation and hopelessness expressed by Beth here are absolutely crushing - the song feels like standing at the top of a snowy mountain, in a storm, staring off into the distance knowing there's no way you'll ever be warm again. I also really like 'Glory Box', which has Beth switching up her vocal style to something kind of snappy, crooked, and almost conniving before her more typical lush style sweeps in on the chorus, again evoking those feelings of yearning under these squawking electric guitar hits.

Albums like this just make you really happy to love music, but also really sad when get hit with the realization that nothing will sound like this ever again. Like DJ Shadow's 'Endtroducing', the sort of low-budget, imperfect mixing of it is what REALLY makes this album...its '90s-isms and its recording context. I'd say it's that fusion of artificial computer programming and sounds straight from the human soul in the samples and Beth's vocals - it's a fusion that can't be easily recreated because it feels as unintentional as it does intentional. But hey maybe there is more music that sounds like this, Portishead's two other albums could sure use a re-listen.

The coolest thing on this album was its electro-pop cover of Pink Floyd's 'Comfortably Numb' which works oddly well. I was pretty mild on most of the music here, especially when it was going in that white-washed funk direction. A hand-full of highlights though, like the song 'Mary' was pretty good, and I'd be lying if I said that the bass tone and line on 'Tits On The Radio' didn't kick ass - this entire song might be my favorite here, it's so fun.

I think that's the saving grace of this album, it's pretty fun to listen to. But also insanely tacky at times, like how the auto-tune and moaning on 'Filthy/Gorgeous' destroy an otherwise perfectly fine contemporary funk-electro song. I didn't hate it though, and it certainly grew on me as I continued listening to it. Also, it does (sort of) feel like the type of album that would grow on me over time - it feels incredibly unique in its genre fusions.

I had pretty high expectations going into what many consider to be Joni's masterpiece. Though I wasn't nervous or anything, I knew I'd enjoy this, considering how much I enjoyed some of her other albums, like 'The Hissing Of Summer Lawns' and especially 'Hejira'. While many of the songs here are far less musically ambitious than the ones on those albums, with the ones here comprised (almost solely) of piano and acoustic guitar, this album may still contain Joni's best crop of songs for me. Joni's voice is as soothing as ever, sticking to that high-pitched, fluttery style, and her melodies here feel almost intangible with just how unpredictable they can be at times - especially on the opener here 'All I Want', which may be my favorite song. The entire album sounds like its title, Blue. I can't think of any other word to describe the feelings this album evokes. It feels like staring out the window on a rainy day - as cliche as that metaphor might be. 'Little Green', from a lyrical perspective, is supposedly about Joni putting her child up for adoption in the late '60s - the line "child with a child pretending" had me almost tearing up. The title track is so warm and has maybe my favorite piano playing on here; it perfectly captures life's emptiness and the feelings of never-ending yearning in the presence of indulgence. 'River' feels similar in that sense, with Joni hoping to move on to happier times in the face of a ended relationship. This song interpolates Jingle Bells in its piano which, for any other song, would come off as tacky, but it manages to work here given the song's subject matter.

As great of a listen as all her other albums. While I enjoyed 'Hejira' as an album a bit more, I do see myself returning to various songs from this album more often in the future.

I don't really like the White Stripes, but two songs here, 'Fell In Love With a Girl' and 'Hotel Yorba,' I have in constant rotation. The former is an incredible song—it's short, punchy, witty, and catchy, something the rest of this album is NOT. That song feels like a punk song where the band's stripped-down, two-piece, minimalistic sound actually works in their favor. Almost everything else here though sounds like that bastardized blues sound the band goes for. 'We're Going to Be Friends' is the least guilty of this album's worst tropes, and while it sounds as cheesy as a 2000's indie song can possibly sound, I never minded it - it's cute.

I find it funny that people dissed Meg White's drumming a lot back in this band's heyday, she does a great job laying down these very simplistic albeit punchy drum patterns - it certainly fits the blues-rock sound the band goes for. And there are some decent riffs here for sure, like on 'Offend In Every Way' and 'I Think I Smell a Rat'. It's just, most of the time, I can't stand Jack White's awkward lead vocals and it soils almost every song here. I did like him on 'The Union Forever' though, where he sounds sort of like Jim Morrison of all people. And with no discernable bassline, things end up sounding flat, and skeletal. There's so much unused space in the mix in most of these songs. It's a unique aesthetic and sound, and if there's something I'll praise The White Stripes endlessly on it's that they certainly stuck out in the 2000s indie scene...but just not in a way I particularly ever cared for.

This album may have the most new-wavey vocals I've ever heard - it's that seamless switching between soft and smooth, and deep, towering cadences. I heard this album a while back, a couple of times because I liked the song 'Everybody Wants to Rule The World', but I don't remember many songs off of it. Re-listening to it now, I can see why. To me, it sounds like the type of album you'd thoroughly enjoy while listening, front-to-back, but the next day you'd struggle to remember a single song off of it. Relax that's just how I feel! I'll need to test that hypothesis again now, though I won't be able to update this review with the conclusion.

Anyways what am I talking about? Oh yeah, this album. Nice, colorful, fluttery, well-produced, new-wavey power music that can very comfortably soundtrack a walk through a tropical beach. 'Shout' is the perfect, anthemic, and catchy opener this album needed; and while I usually dislike clean saxophone lines in '80s (white) music, the one on 'The Working Hour' managed to win me over. 'Head Over Heels/Broken' is another incredibly solid cut with one of the most earwormy choruses here. The synth lead and pads that open up the song 'Listen' are yet another incredible production moment here, the entire track is ethereal, sounding like you've stumbled upon this gorgeous bio-illuminated grotto in the middle of the jungle. It's got ambient elements like that.

I tend to use the descriptor "clean production" with a negative connotation a lot of the time, but despite this album being the epitome of that descriptor, I'd say the shininess of the production only helps elevate its lush and scenic sound. The high quality of it all makes everything just pop. A great album with a great sound that captures its era beautifully, there's a reason this album's so revered in the new-wave world. Let's hope I remember how much I liked it come tomorrow night.