Reviews by mkaddour2001

A pretty great album from an artist that I'm generally indifferent towards. While I go back and forth with my opinion on Nick Cave and the Bad Seeds, I'll concede that the group has one of the most consistent discographies in this singer-songwriter art-rock adjacent genre. And this is no exception; it's slow, hollow, empty, dreary, and sort of day-ruining. The whole thing feels like sailing away on a ship to a faraway land, as you're surrounded by the mystic aura of the various atmospheric synths driving a grand majority of the songs here. It's slow, and it understands that, feeling like a subtly shifting reality, or one's perception of it, as spirituality and religion seep in to take hold of one's drifting mind. The songs build very slowly, with my favorite being the vocal harmonies and swelling synths coming in on the back-end of 'Galleon Ship'. The ambient synth work here is generally pretty great, though the album is just as potent when it's doing the typical piano-ballad thing.

And Nick Cave is as emotive as he's ever been here; his lyrics, while simple and vague at times, paint these pictures of a lost, crushed love. I didn't read too much into it, but I'm well aware that Nick had lost one of his children around this time and had dedicated his previous album, 'Skeleton Tree,' to that. This album seems to carry over some of those themes, I'd say, with an emphasis on growth and reflection. And Cave's dark, deep vocals and croons fit the ambient backdrops here surprisingly well.

Really enjoyed this album. I think I said it already about a couple of other Nick Cave albums on this list, but his musical growth is one I can really get behind. His later years are far more subdued, cerebral, and mature than some of his edgier '90s albums. I appreciate that, despite enjoying both eras for two very different reasons.

While some of the songs were a bit too long for my liking, I still largely enjoyed this album from this legendary pop artist. It isn't nearly as explosive or immediate as his follow-up, 'Purple Rain', but you can still hear all the seeds being planted here. That typical new-wave sound fused with funk, soul, and various other art-rock adjacent genres is what you're getting here. And the vocal and lyrical oddities are all there (I mean, just listen to 'All the Critics Love U In New York'). The synth work on songs like 'Delirious', 'Something in the Water', and 'Automatic' has this quirky, almost Eno-quality to them, while songs like 'Lady Cab Driver' go in this spacey, almost neo-soul direction. And that's the thing with this album, it feels far more spacey and subdued when compared to 'Purple Rain', something to put on and really just chill out to. Many songs often break into these multi-minute instrumental groove sections that are minimal but cerebral all the same, which is why, again, I feel like there's a sort of neo-soul quality to this album. My favorite extended grooves had to be on 'Lady Cab Driver' and 'Automatic'. The two opening songs, I say, fall into that more classic Prince territory, or the Prince I'm familiar with at least. All the paranoia and pessimism of the title track aside, it really is a bright, fun new-wave track, with these danceable synth hits and an earwormy chorus - a song that really benefits from the dual vocals as well. And something about the opening synth of 'Little Red Corvette' sounds super dreary and crushing, which fits this song well since it has some of Prince's most sentimental lyrics. An emotional banger and the best song on the album for me.

Prince is an artist whose visions in his music are sort of hard to see from my perspective. I can still enjoy a lot of it, especially, again, 'Purple Rain', but a good chunk of his music feels ahead of MY time, even. Like, I'm just not ready to fully grasp what's being presented to me. It's weird, but cool.

Super cool album, but one I've been trying to properly digest for a very long time. There is A LOT to take in here. Most people praise this album for the same reason they praise a lot of golden age hip hop records, albums like 'It Takes a Nation of Millions to Hold Us Back' and '3 Feet High and Rising'...it's the sampling. They're just flying at you and right past you as you start trying to process the next sample. 'Shake Your Rump' is the perfect demonstration of this; it's like a million different songs packed into this little 3-minute container, and that iconic three-way Beastie Boys rapping style only adds to the unfiltered chaos. Overwhelming can't begin to describe it. 'Egg Man', while having one of the more consistent (and better) rap performances on the album, is equally as unhinged. Look, yes, a part of me wishes that the guys would just ride the really hypnotic and infectious bassline beat established at the beginning of the song, without throwing in a million different interjections and switch-ups...IT'S LITERALLY UNDER 3 MINUTES. But that's the appeal (of most) of this album, and you come to understand that very early on.

The album really dishes out one intriguing production beat after another. I love that main guitar riff driving the spacey 'The Sound Of Science,' or the funky guitars scratching through 'Hey Ladies'. And in typical '80s hip hop fashion, you'll get a pretty neat (and sorta random) heavy metal crossover with 'Looking Down The Barrel Of a Gun'. 'Shake Your Rump' is a warehouse of incredible little beat moments, with maybe the tightest drum loop on the album, and this weird, fuzzy synth tone that'll go on to become a Big Beat staple in the '90s. A lot of this album, come to think of it, is very predictive when it comes to that particular genre; the beats have this weighty, clunky feel to them.

Thankfully, the rapping doesn't balance the production out or anything; it's just as bombastic. I feel like having three distinct MC voices featured here, rapping about the most random shit you can imagine, is the only style that CAN work with production this shaky and precarious.

Anyway, if you hate how all-over-the-place this thing is, then you'll hate the last side of this thing even more. Just these short non-sequitors that, admittedly, contain some of the better rap performances here. 'Get On The Mic' is one, but more specifically, 'A Year And A Day', my favorite Beastie Boys song, period. Everything from the beat, to the flow, to the weird staticy filter on the vocals, whatever that is.

I don't usually write this much about albums on this list, but I just sort of drifted while re-listening to this album for this list. It fascinates me like few rap albums, and albums in general, do. So weird, so non-sensical, so different, like cycling through the radio channels in some alternate universe where these oddly artistic but edgy frat bros own all the broadcasting frequencies. But it's an album that'll undeniably latch itself onto you and refuse to let go - once you get it, of course.

One of those albums where I've always loved the IDEA of listening to it, as opposed to, y'know, actually listening to it. But not anymore, not after this time. There are a few albums that are more essential to the formation of one of my favorite genres, punk, than 'Fun House'. And I enjoyed it much more this time around, even though I scarcely feel the urge to revisit any one song on this album. The whole thing just sort of comes together to form this one messy, hedonistic, chaotic blob. In typical punk fashion, you have one really strong rhythm section doing the heavy lifting in terms of maintaining any form of structure, while the guitars and Iggy's vocals drift and contort around that rhythm section, forming this almost wall of abrasive noise. It's what makes this album so addictive at the end of the day. There are certainly riffs and vocal melodies here, but they're short and tight, and never stay in one area for long. The song 'T.V. Eye' in all its lo-fi goodness has some of the most aggressive vocals here, while a song like '1970' is the most early '80s hardcore punk song on the album - it's really that guitar loosely tracing the bass melody while trailing off at seemingly random. I love how noisy and disjointed the guitar sounds when it comes back to the core riff after that solo at the halfway mark. This song reaches godly levels of chaos, and I'd say that unfiltered energy gets carried over into the next ambitious title track. While I do generally think Iggy was far more intense on stage than he was in the studio, he really nails the vocal riffing on this one (and whatever the hell he's doing on that closer 'L.A Blues'...jesus), with an almost Jim Morrison level of swagger, clearly drawing from the Doors a lot on this song. I think this album, in general, really builds up energy as it goes. There's a subtle progression, but it's clear as day when you reflect on where the album started versus where it ends up with that noisy monster of a closer, leaving the listener with nothing but amp feedback to chew on.

I don't know if I'd say this reaches the intense, blood-pumping heights of punk rock generally. Something about it is very much steeped in the sounds of the late '60s and early '70s hard rock. But I'd be hard-pressed to find a more consistent and predictive proto-punk album out there. It really clicked this time around.

Maybe I was expecting too much out of this album, but I was hoping for a little bit more oomph. It's perfectly fine '80s psychadelic music most of the time, that draws from many of the '60s groups this list seems to love throwing at me. And I think that's partially the problem, I'm sort of fatigued when it comes to this sound, so even songs that are largely pleasant like 'Waterfall' or 'Super Spun Sister', just end up sounding nothing more than run-of-the-mill psych (and, unfortunately, sort of Britpoppy). Oddly enough, I really enjoyed the short, arpeggio-driven 'Elizabeth My Dear', a song that needed to be way longer. One of the better songs here was 'Made of Stone', which has a genuinely winning chorus, something I feel this album is generally lacking in. Also, the groove here is absolutely killer, especially in that musical interlude near the end, which is absolutely driving, tight, and blood-pumping. 'I Am the Resurrection' was also an ambitious closer, again feeling more aggressive and bold in its melodies, structure, groove, and instrumental palette, allowing it to stick out in the mix here. I was genuinely engaged for all 8+ minutes of it, something I can't say for many of these other songs here, where I felt mentally checked out. And again, some of the better and more expressive vocals on the record.

I feel like I just wasn't in the headspace to receive most of this album on this first listen, but I will see if it clicks on subsequent listens. It was honestly pretty and pleasant in almost every way.

Baby's first hip-hop album. It was certainly the first hip-hop album I ever fell in love with, back when the genre had very little appeal to me. This felt like a grand display of talent, with so many easily digestible, melodic beats and earwormy choruses and hooks for days. It felt, and still sort of feels, larger than life in that sense. Like a pivotal moment and a shift for not only hip-hop, but popular culture as well. Because who was more "pop culture" than Kanye West himself in the late 2000s? Only this guy can assemble dozens of features, including Drake, who has a very faint line, for one single song on this album. That song, 'All Of The Lights', alone has Elton John, Rihanna, Fergie, and Kid Cudi. You also have Jay-Z, Nicki Minaj, Bon Iver, Pusha T, various Wu-Tang members, and John Legend on this album; it's quite frankly ridiculous that this album turned out as well as it did. Not really consistent, given just how huge the "cast" is, but consistently good, I'd still say.

While I have sort of fallen out of love with a good chunk of MBDTF over the years, the highlights here are still in constant rotation. I mentioned 'All Of The Lights' being this Avengers-level gathering of pop icons into one song, but 'I'm So Appalled' felt almost like the hip-hop-specific version of that. I just love the ominous and haunting atmosphere of this posse cut, something this album really benefits from. The other posse cut, 'Monster', is almost on the same level, I'd say, though I've never been a huge fan of Jay-Z's verse on that song. 'Devil In A New Dress' is also one I keep coming back to, such an incredibly well-chopped instrumental paired with that iconic soaring Mike Dean guitar solo. 'Lost In the World' is super nostalgic to me. I remember listening to this one song non-stop on my train rides back home from university, late at night. This album and Kanye's discography in general really soundtracked my first semester in university, when I had to commute for 2 hours almost every day. I associate this album with that time in my life. Anyways, there's also 'Runaway', which is easily the best song on this album, a lengthy, ambitious cut detailing an egomaniac breaking himself down all-while managing to (somehow) not sound like an asshole doing it. It's effective, and it's catchy, and it's beautiful.

Can't really, in good faith, give this anything lower than a 5-star. I've fallen off the deep end with Kanye's music in the past few years; it just doesn't hit like it used to. I attribute that mainly to how much of a shitty person he's become, seeing as how Kanye's music is so tightly coupled with Kanye West the person. But this is one of the most important albums to me as a music fan, and also to music and hip-hop in general. And it still sounds fresh to this day, with any "dating" qualities (like the tacky auto-tune usage and, well, Fergie) coming off as charming more than anything. Classic album.

An album I've always sort of been on the fence about. On one hand, I absolutely love the messy presentation, be it the skeletal production or the loose yet effective harmonies spread across the album. On the other hand, the dub fusions here just irk me to no end; it's not executed very well at all, nowhere near as good as other punk acts like The Clash, who tried similar things. It's unfortunate because that always held the album back for me; everything else about it is your typical post-punk - funky, groovy, tight, and witty as well. When they're just doing that, they're doing it amazingly. 'I Heard It Through The Grapevine' remains one of the absolute greatest post-punk songs ever, just a great encapsulation of everything that defined the genre's sounds in the late '70s. 'Typical Girls' is maybe the wittiest thing here, a cheeky commentary that's also relentlessly catchy. 'FM' is another great track here. I love the introduction of the acoustic guitar; it sticks out in the mix, admittedly, but in a mostly positively jarring way.

Given how much I dislike one of the core elements of this album, it could've been much, much worse than it is. I do still enjoy a good chunk of the songs here, which speaks volumes to this group's talent.

While certainly more lively and busy than the other Baaba Maal album on this list (Djam Leelii), I did find it was a bit more hit-or-miss and far longer than I would've liked. It still has that sun-kissed, bright, and cheery atmosphere that was present in Djam Leeli, but it's certainly more bloated and drawn out, with fewer memorable moments scattered throughout. Still, the dense rhythmic and funky moments here were great. The second part of 'Daniibe' stands out particularly, with some of Baaba's best vocals on the album. And 'Olel' really emphasizes that funky part with these encompassing, hypnotizing rhythms.

Nothing that was super mindblowing, but not a record I minded or anything. Was a good time generally.

Maybe the only band from Azerrad's 'Our Band Could Be Your Life' that I haven't checked out yet. And seeing as I love so many of the bands featured in that book, I was hoping that this would be up my alley. And while it sort of is, I do think its general directionlessness and very (very) rough presentation ultimately hinder the overall experience. Unlike a group like Big Black, that perfectly balanced noise and cacophony with genuinely interesting lyrical themes, melodies, and song structures, Butthole Surfers opt for the more in-your-face "Here's an idea we came up with, but didn't necessarily bother developing it into anything worth a damn" approach. And there are some interesting ideas and moments to be fair, the super short 'Weber', for as ear-piercing as it was, actually sounded pretty sinister when the drums kicked in and the dial on the reverb got turned up. 'Human Cannonball' was maybe the most fleshed-out song here, sounding like a twisted Joy Division song at times. The closer '22 going on 23' had maybe the best guitar solo and core riff here, but I'm not sure how I feel about the way the vocal sample (revolving around a traumatic sexual assault) was used, though I'm sure it was well-intentioned. Aside from those few moments, though, I do think this album sort of ended up falling flat for me.

I can appreciate them pushing this style to its absolute limits; it's as dirty and messy as you'll get in the late '80s. And it's generally consistent, say for maybe the super out-of-place (and frankly tacky and boring) opener 'Sweat Loaf' and the oddly serene 'Kuntz', which sounds like it's mostly sample-based? But it's all a bit too much, even for me. But yes, they're obviously super influential. I see many industrial groups taking notes from this album or group.

Incredibly visionary shit for 1976, ambience with an emphasis on lush textures, unlike much of Eno's stuff from around this time, for example, which emphasized space and repetition. Because of that, I'd say that this feels way more ahead of its time when compared to its ambient-ish contemporaries (I know this isn't 100% an ambient album, but that's the parallel I choose to draw :)). Just the subtle progressions of the tracks, the ever-changing and dense environments, and the hypnotic filter slides and arpeggios that give many of the songs here a form of discernible melody. This album's more melodic tendencies kick in with Pt. 2, which is just so gorgeous in every way imaginable - evoking the feeling of walking through a demolished city that's been covered in overgrown plants. This album's balance between melody and ambiance gives it a video game OST vibe, way before the medium was ever even realized. 'Pt. 5' does the space ambience thing incredibly well; it reminds me of stuff Steve Roach went on to do later in the '80s.

A chill listen and, again, just remarkably ahead of its time. You can always count on the French's electronic wizardry, I suppose.

Probably the Parliament/Funkadelic record I was most familiar with before entering this list, and it didn't disappoint on this re-listen. I know Dr. Dre's The Chronic interpolates this album a lot, which is why I checked it out way back in the day, but that aside, this record still maintains that funky, funny, over-the-top, and chaotic energy that's present in so many of Funkadelic's other records. Be it the relentlessly slow and chill opener 'P-Funk', which quite literally feels like floating around in the vast emptiness of space, or 'Unfunky UFO', which goes in the opposite direction, with these satisfying vocal inflections, explosive horn section, and incredible backing vocals singing that sticky lead melody. I'd go as far as to say that this is one of the greatest funk songs of all time. 'Supergroovalisticprofisfunkstication' is another one of these jammier songs that feels like taking a pitstop at some bar space station fusion, and the higher-pitched synth here is 100% the influence for the iconic West Coast whistle. The song 'Give Up The Funk' is another incredibly catchy track, with easily the fattest and sexiest Bootsy bassline on the whole album.

No need to keep yapping about how genius these guys are; they just are, and they have undoubtedly made some of the best music to ever grace this otherwise miserable planet. So. Good. Every. Time

A really gorgeous album that, a lot of the time, actually feels like a unique take on ambient during the genre's heyday. It's moody, diverse, and also pretty off-kilter at times, completely derailing from its generally serene route to give you something sort of challenging, like with the sort of directionless beeps and bloops of 'Pigtail'. But that doesn't happen very often here, from the very first son,g you know you're in for something relaxing, fresh, and very breathable. And you can (for the most part) let your guard down and let the music drive your emotions in a million different directions. Something about that almost nursery-like melody on 'Penguin Cafe Single' sounds like the opener to some Pixar movie; the song has this cutsey child-like feel to it. The best track was by far and away the gorgeous 'The Sound Of Someone...' which left me confused on whether I was happy or sad by the end of it, something about that quaint guitar melody just tugs at my heart like very few things I've heard recently. But don't get it twisted, the song's equally as comforting and lulling when those strings come in. The closer 'Chartered Light' is maybe the most ahead-of-its-time thing here, a genuinely jaw-dropping fusion of a lot of the jazzy, baroque, and ambient elements the album had been building on up to this point. In a lot of ways, I hear the sounds that would come to be associated with post-rock being developed on this album.

I wouldn't compare it to one of my favorite albums of all time, but this really does put me in the same relaxed headspace as the masterpiece that is Brian Eno's 'Another Green World'. Both records transport me to a perfect world where it's always sunny, and the grass is always green, surrounded by the ones you love most forever. Great gem on this list.

Pretty uninteresting in almost every way tbh. Never outright bad or anything, though it borders on a few of the vocals and lyrics, but just one of the least memorable albums yet on this list. I sort of liked the 'Lazyitis' psych riff, but that's all I recall standing out in this listen.

I honestly didn't mind the spoken word parts here, it's certainly weird for an album to do, but just based off the title alone, I assume this was meant to be at least somewhat educational. And the part where he saw to go in with an open mind in the introduction I'd say

As not the hugest White Stripes fan, I did actually find myself enjoying this more than I'd anticipated. I've never been a huge fan of Jack White's vocal delivery, specifically, which resembles this classic, bluesy, and hard-rock Robert Plant type thing, but it works on a few of the songs here still, complemented by some pretty engaging production. I find the album is at its best when Jack's on these faster-paced and more aggressive songs. 'Sixteen Saltines' is maybe the best thing I've heard out of either him or the White Stripes - everything from the ever-changing structure, that sharp yet simple riff, his vocal phrasing, and the monster-like depiction of this woman in the lyrics makes this one hell of a song. The following 'Freedom At 21' contains another one of my favorite Jack performances on here, and again, the lyrics here are just about as dirty as the production. Unfortunately, a bunch of the songs after this first incredible run still fall into this very repetitive and uninteresting White Stripes soft-blues rock territory, especially near the middle. It's not until 'Weep Themselves To Sleep' that I find Jack plays to his strengths (or my idea of his strengths at least) again, with this very dramatic piano-driven piece. And I honestly really liked 'Hip (Eponymous) Poor Boy' and its cutesy keys, it feels out of place, but it works oddly well - it ever-so-slightly reminds me of mid-2000s Modest Mouse.

Certainly pretty enjoyable, more so than I find The White Stripes; it's more interesting in almost every way. But Jack's style is generally just not my thing, so my enjoyment of this guy's music remains limited.

I don't really want to call Bruce Springsteen's music junk food, even though at times it feels exactly like that. In a way, his music, especially in this era, feels far too easily digestible, going down smoothly, which means it doesn't really leave a memorable impact on me in the long term. But that's not a bad thing at all, just thought it was worth mentioning. And I do generally enjoy the experience despite this particular album feeling quite bloated. It's good music, and Springsteen's very expressive yet clean and husky voice paired against these lush and varied instrumentals and comforting melodies makes the whole thing feel very cohesive. Some of the highlights for me here were 'Lonesome Days', 'Mary's Place' (which reminded me a lot of 'Thunder Road', one of my favorite Springsteen songs), and the very dark and moody 'You're Missing', which sounds like every indie pop-rock group in the '2010s in a (generally) good way.

No complaints from me on this one; it's just not the stickiest album on this list. But I liked it.

As one of this website's certified Britpop haters, and not a huge fan of Blur in general, I actually quite enjoyed this. And that's saying a lot. I was 100% expecting to hate every moment of this going into it, but I was pleasantly surprised by a lot of the tracks. There's just so much more personality, variety, and genuinely solid hooks, melodies, and riffs here than I've heard from most other Britpop bands. It actually feels like an homage to classic British pop and psych music from the '60s rather than another boring take on '90s alternative. I do, unfortunately, think that it's still pretty frontloaded, but the front is just really damn good. 'Girls & Boys' is a super cutesy and catchy track, and 'End of Century' might be my favorite song I've heard out of these dudes, with such a well-written chorus. The title track was also pretty noteworthy because it feels relentlessly British in its observational lyricism and delivery. And you can't tell me that's not the most Beatles-sounding chorus ever. 'Bedhead' was a nice, slower song, and 'Clover Over Dover' has this mystical and almost '60s psych-sounding lead.

So yeah, pretty neat. Not every song hit, but at least most of the songs here felt unique and distinguishable. It was also very heartfelt and colourful, in many ways, I see Damon's Gorillaz sound bleeding through this particular album more than any other Blur album I've heard.

At least a bit better than Supa Dupa Fly, I'd say, though still filled with many of the same problems from that album. Timbaland is still on production duty here, and while the beats are a bit more noteworthy, harkening back to many older hip hop standards and styles, it still gave the album this dragging feeling that I couldn't shake. There are some hard moments here still. I really like the original, so the new version of 'Bring The Pain' featuring Method Man worked for me, though I wish it were a bit more transformative on the beat; it just reuses that classic loop without really altering it. 'Gossip Folks' is maybe the hardest beat here, and Ludacris definitely delivers on his verse. But 'Work It' is maybe the most noteworthy song here, just an absolute classic with such an infectious flow from Elliott herself. The sort of clunky and dirty guitar beat on 'Slide' was also pretty sick, and the song also features another smooth delivery from Missy Elliott in her more traditional style. And 'Can You Hear Me' was a pretty heartfelt way to end the album, a tribute to both Aaliyah and Left Eye (alongside other important lost figures in hip hop) featuring TLC themselves. And given this period in hip hop was filled with so much loss, the final spoken word portion felt super poignant and necessary.

Ultimately, I enjoyed this as much as I did Supa Dupa Fly. Some incredible moments here and there, but ultimately a bit too bloated and long for my liking.

God, so many incredible songs on this album. I've been meaning to check out Blondie and 'Parallel Lines' for a long time. I knew the band sonically stood somewhere between pop-rock and punk at the cusp of the new-wave movement of the 80s, and I found that to certainly be the case when I was finished listening to this album. I think the sugary 'Sunday Girl' does a great job of presenting those fascinatingly transient elements the album holds. The production is so rich and clear - it's so sobering, like sitting in a tidy room. I love the guitar work on the interlude of 'One Way Or Another' - it's one of the dirtier songs here with those punk elements at the forefront. The song 'Pretty Baby' has an almost throwbacky 60s Phil Spector production vibe with that guitar riff and those chorus harmonies - I dig it. Ultimately, though, Debbie Harry is the heart and soul of this album, and she's absolutely incredible as a lead vocalist. She captures all things great in the late 70s electro-pop and punk vocal styles. Be it the higher register singing of the catchy 'Heart of Glass' or the sticky refrain of the songs 'Will Anything Happen' and especially 'Hanging on the Telephone', it's clear that she's one hell of a dynamic vocalist, and she has an undeniable knack for ear-candy vocal melodies.

Debbie really elevates this record beyond what I ever thought it could do for me. It's really just great, wide-appealing rock music, and I can't overstate how fun and addictive it is to listen to. The album transitions from one great motif to another at the drop of a dime; each and every song sounds fresh. Addictive stuff, and I'll be listening to many songs off this thing for a long time.

It's alright, the type of thing I'd throw on in the background during a lazy Sunday. Despite its release in 2011, it really does have a very mid '2000s indie feel to it. Something about the general atmosphere and feel of the album reminds me a lot of Beck's releases from that time. There were a couple of highlights here, especially early on. 'Street Joy' was a really solid slow ballad, even though the growly delivery on the chorus gave me flashbacks to all the worst kinds of over-the-top ballads that plagued the 2010's pop scene. It was fine enough here, though. The psych breakdown on 'At The Farm' was pretty good too, wish they did more of that particular thing on this album. 'Anvil Everything' has the same sort of chaotic psychadelic energy, but is overlayed by this really sweet melody by the lead vocalist, which I enjoyed quite a bit.

So, a few really great songs here, but a bunch of everything else here was far too forgettable and uninteresting for me personally. Again, it's certainly a vibe, but not something I was entirely engaged with.