Reviews by nevele

If you can't get past the voice, this is unlistenable. If you can, it's one of the most singular, uncompromising albums of the 2010s.
This is medieval life in northeast England without the romanticism. Poverty, disease, violence, survival. No knights or castles, just the brutality of pre-modern existence. The lyrics are gruesome at times, but that's the point. It's refreshing to hear historical realism after so much sanitized medieval fantasy.
The production is sparse and lo-fi, which fits the medieval atmosphere perfectly. Discordant guitar, occasional brass and strings. The rawness serves the subject matter.
Dawson's voice is harsh, warbling, theatrical. I'm trying to ignore it more than it adds to the music, but it doesn't derail the album. "Beggar" is my highlight.

It's a good hiphop album and I can appreciate the flow and style of Denzel Curry. But honestly only the first two and last two songs I can really appreciate. On the other end songs like X-Wing and Troubles are horrible tracks in my opinion. The strings on X-Wing are just a bit too much and the beat and terrible T-Pain autotune I can't stand.

I heard this back in the 90s and was a big fan then. Still am now.
Incredibly addictive jazzy jams with charismatic, stream-of-consciousness lyrics that feel like poetry. Fantastic sound, great dynamics, excellent upright bass work by Sebastian Steinberg, and eccentric sample work throughout.

I see people calling this completely original and unique, but I'm not convinced that's the full story. In the 90s, there were similar bands doing this kind of genre-blending, especially in Europe. This didn't exist in a vacuum, even if it felt unusual in the American alt-rock scene at the time.

That said, what an incredible stunner of an album. I'm thoroughly enjoying this again, just like I did in my teens. 4.5 stars.

Not an unknown album. One of the biggest records of its era. This is Muse’s second album, and the one where they properly find their own voice after a debut still wearing its Radiohead influences on its sleeve. It’s bombastic, over-the-top, and built for stadiums, which is usually not my thing at all.

But this album rocks. Hard.

The first six tracks are relentless: “New Born,” “Bliss,” “Space Dementia,” “Hyper Music,” “Plug In Baby,” “Citizen Erased.” One after another, no let-up. The sheer energy is what makes it work. Chris Wolstenholme’s bass is the backbone of the entire record, massive and melodic, holding everything together while the riffs and drama explode around it. There’s real power here, not just volume.

It does lose momentum after those opening six songs, but they’re strong enough to carry the album regardless.

Later Muse would lose me. The bombast got bigger, but the energy drained away: more strings, more synths, more stadium ambition, less raw rock power. Origins of Symmetry still has that fire.

4.5 stars. Not quite top-tier all-time, but absolutely a banger.

I think this is the most consistent Teenage Fanclub album. The high quality is evenly distributed across all 13 tracks, more so than on their other albums, which makes for a pleasant listen.
Because the quality is so excellent and everything is tightly executed, the songs can sound a bit simple and ordinary. But that tightness also lets you hear the deepest details and nuances, which is a pleasant experience. Simply excellent songwriting.
"Sparky's Dream," "Neil Jung," "Going Places," and "Don't Look Back" are my favorites.

Harbor Lights starts incredibly strong and sets expectations the rest of the album struggles to meet. The title track is excellent: great piano and guitar work, dissonant touches near the end, and a sense of momentum that feels playful and alive. The final song "Pastures of Plenty" captures that same spirit again, and "What a Time" briefly lifts the middle of the album with a bit of swing, horns, and genuine fun.

Unfortunately, most of what sits between those highlights is far less interesting. A lot of the album suffers from stiff late-80s production, especially the drum sounds, which flatten otherwise capable songs into MOR jazz-pop. Tracks like "China Doll," "Fields of Gray," and "Rainbow's Cadillac" aren't unpleasant, but they don't say much either. The arrangements feel safe, and the energy drains away quickly.

Hornsby is clearly a strong musician, but here the polish often works against him. When he allows dissonance, groove, or looseness into the songs, the album comes alive. When he leans into smoothness, it becomes forgettable. Two excellent bookends and one bright spot don't justify the slog in between. 2.5 stars.

This is definitely about an angry teenage boy. The lyrics are short, unsubtle, and sometimes childish. Songs like "I'm Not A Loser" don't fully stand the test of time lyrically.
Musically, this is insanely awesome. Quick, melodic nerd-core-punk that's wonderfully energetic. Kudos to the bassist for holding it all together. You can't accuse these guys of lacking passion, as good punk should have.
"I'm Not A Punk," "Suburban Home," and "Kabuki Girl" are my favorites.
I can really see how this influenced so many bands. Imagine hearing this in the early 80s. This is where so much of the popular 90s punk bands got their inspiration. Great album, all in all.

Listened to this before and didn't get too much from it. Came back today and found a very decent pop/rock album without much pretense but with some great lyrics.
"Bobcaygeon" and "Thompson Girl" stand out. The poets lyric is beautiful: "Don't tell me what the poets are doing / don't tell me that they're talking though / don't tell me that they're anti-social / some of them are not anti-social enough."
Solid songwriting, conversational but literary. Took a second listen to reveal itself.

Ozzy's debut came out the same year Black Sabbath made a grand return with Heaven & Hell. While Sabbath delivered interesting song structures and a vocalist who did more than follow vocal lines, Ozzy delivers something more commercial, simpler, and perhaps radio-friendly. Though that's not inherently bad, it doesn't take away that this is all quite simple.

Randy Rhoads' presence is crucial. His riffs make "Crazy Train" and "Mr. Crowley" recognizable. He's the only reason these songs work at all. "Revelation (Mother Earth)" stands out. But beyond being recognizable, I don't think most of these songs are very good. The structures feel less interesting than what Sabbath was doing. Ozzy's voice might even be a mismatch for the musicianship.

Drummer Lee Kerslake and bassist Bob Daisley were denied gold records and income despite playing on the album. Even harsher since Daisley wrote all the lyrics.

This is the best solo work Ozzy released, but removing his name, it's really is nothing more than a pretty decent hard-rock album.
3 stars. Influential and massively popular, but not as good as its reputation suggests.

What to say about this album that hasn't been said a thousand times before. It's Tool. It's Ænima. This style has been copied by dozens and dozens of bands, brought forth a horde of annoying fans, isn't as good as follow-up Lateralus, but 100% should've been on the original list.
Still a 5-star album.

I know Gerry Cinnamon from being the opening act for Frank Turner, and that's kinda how this feels. Like the opening act for people like Billy Bragg and Frank Turner.
Anthemic, singalong indie-folk-rock. Stripped-down production, mostly acoustic guitar. Songs designed to be shouted back in a crowd. Direct, conversational lyrics about everyday struggles.

Massive in Scotland seems to be the new Big In Japan.

There were already 5 The Who albums on the list: My Generation, The Who Sell Out, Tommy, Who's Next, and Live at Leeds. That's a lot, but I'm thinking the submitter put this one in to replace another.

The album is really good. Moon's drumming is out of this world. Fills where other drummers would just keep time, constant invention without ever losing the groove. Entwistle's bass work is incredible. Soloing in "The Real Me" but also extremely functional, like holding one note for a bar in "I've Had Enough." Townshend wrote it, but it wouldn't be anything without this band.
Melodic, clever, and still full of feel and grit. Something many prog bands that have definitely listened to this afterward didn't understand.
The album is busy, but the 81 minutes don't feel too long. It flows rather than being a collection of songs. I can hear the inspiration for prog bands like Genesis, Dream Theater, Ayreon. The rock opera narrative exists, but I'm mostly just enjoying it as exceptional musicianship and songwriting.
Solid 4 stars. Should replace Live at Leeds on the list. This is a more complete artistic statement.

"Doom jazz" is a micro-genre that barely exists outside of Bohren and a handful of others apparently. This is music for people who think regular jazz is too upbeat and doom metal is too energetic. It's aggressively niche.
And I'm all here for it.

Not sure if such a niche album should be on a 1001 album list, but this is one of the best things I've heard in a while.

Insanely slow tempos, beats landing at exactly the right moment. My Dying Bride if they made noir jazz. The rock influences have disappeared, this is all atmosphere. Everything drags, everything lingers. An atmosphere of calm with an ominous menace underneath. The dark power of the saxophone in all its glory.

Even the aesthetic of the album cover is pure film noir/neo-noir

This isn't an album with standout tracks. You put it on and let it wash over you. It sustains its 50-minute runtime completely. So delightfully moody, balanced perfectly.

This hasn't clicked with me at all. None of these songs made my ears prick up, none lingered, none did anything. I don't mind it, but I also don't like or enjoy it. I don't see the quality and appeal that so many others apparently do.

The foundation is indie rock and post-rock: drums, bass, guitar. Layered on top is endless experimentation with horns, vocals, rap, percussion, hip-hop beats, organic tinkering. It's all so busy that even after three listens it exhausts me without giving much in return.
I have the feeling I'm missing something, but for me this doesn't belong on a 1001 albums list. 2.5 stars. Not offensively bad, just forgettable and tiring.

This sounds like Tom Waits by theater kids. Theatrical storytelling meets indie folk, with a cast including Bon Iver and Ani DiFranco. It's a retelling of Orpheus and Eurydice set in a post-apocalyptic Depression-era America.
"Way Down Hadestown," "When the Chips Are Down," "Wait For Me," and "Why We Build the Wall" are highlights to me, and all are found in the first half of the album. The voices are distinct enough and well picked to follow the story, and Ani DiFranco stands out. I appreciate the storytelling and the ambition behind the concept.
But the album loses steam in the second half. The last ten songs don't hold my attention the way the first ten do. Not that they're worse, they just don't sustain the momentum.
Well-crafted and ambitious, but I found it didn't fully work as a listening experience. For me, the theatrical approach works better in stretches than as a full album. 3.5*

High ratings everywhere for this album, which is surprising for a Christmas album. But attach the jazz label and suddenly it gets prestige. Strip that away and you're still left with "O Christmas Tree" and holiday standards, just with better chord voicings.
That being said, Guaraldi's playing is superb. Clear influences from Oscar Peterson and Bill Evans. Fred Marshall on bass and Jerry Granelli on drums make this a pleasant listening experience.
This could belong on a 1001 albums list because of its cultural impact, not just the music. The Charlie Brown Christmas special is iconic, and this soundtrack introduced jazz to millions of kids.
Not something I listen to, even at Christmas, but I respect what it is and what it represents. 2 stars for personal enjoyment, 4.5 stars for impact and importance. Lands at 3.5 overall.

This sounds like 1966, not 1996. Pure 60s psychedelia worship: Rolling Stones, Velvet Underground, Kinks, The Who. Shameless borrowing, but played with real energy and commitment.

There are genuine highlights scattered throughout. “Since I Was Six” channels Space Oddity. “Straight Up and Down” has that Waiting for the Man guitar feel. “B.S.A.” sounds like the Stones in a 90s jacket. “Fucker,” “Cabin Fever,” and “Monkey Puzzle” all stand out too, the latter with a very McCartney-style cowbell that I love.

The problem is the length. At nearly 70 minutes, this album should have been a tight 35 to 40-minute LP. The retro worship is committed, but it lacks the grit and danger of the originals. These feel like museum-quality reproductions rather than something with teeth. Too many songs sound like B-sides or retreads that should have been left on the cutting room floor.

The band is clearly having a good time, and that energy carries the album further than it deserves. Still, this desperately needed editing. Fun in moments, exhausting overall.

Cold Fact was a first listen for me, and it’s honestly very good. Dylan-esque in its lyrical approach, but grittier, more lived-in, and paired with a voice that’s far more listenable. “Ghetto Dylan” feels like an accurate shorthand.
“Hate Street Dialogue” is a standout for me currently. Direct, sharp, and still relevant. “Rich Folks Hoax” and “Jane S. Piddy” close the album beautifully and underline just how strong this is as a storytelling record. The production has small, quirky flourishes that keep things interesting without ever distracting from the songs.
The backstory only adds to the impact. This album flopped in the US but became enormous in South Africa, reportedly bigger than the Beatles, while Rodríguez himself worked construction in Detroit, completely unaware. The documentary "Searching for Sugar Man" apparently tells that story, and that's a documentary I'll be looking up to watch over the Christmas break.
The music justifies the legend. This is a genuinely great lost album that deserved far better the first time around.

This is a film score, but since it's released as an album and submitted to a 1001 albums list, let's judge it as an album.
It's typical film music with the Daft Punk name attached. The emotion is completely absent. Composers like Hans Zimmer or Giorgio Moroder can move you with film music. This doesn't. It sounds distant and cool even when it's bombastic. The short pieces and recurring themes work for a film but make the album feel repetitive.
This is for film score nerds and Daft Punk completists. Doesn't belong on a 1001 albums list.

Tangue is a strong opener. Bombastic, with swelling violins, and very much rooted in a 90s alternative rock sound, even if I can’t quite pin down the reference. Ouvi Dizer sits clearly above the rest though: an over-the-top rock epic, almost an anthem, and easily the album’s high point.

Not every track reaches that level. Capitao Romance leans more into a distinctly Portuguese flavour, which works well, and O.M.E.M is a standout in a different way. It reminds me of Mike Patton at his most theatrical. Not understanding the lyrics has never bothered me; the music speaks perfectly well on its own.

As a whole, the album is consistent and enjoyable, even if it constantly balances on a thin line between art, kitsch, and genuine expression. It never tips into annoyance, but it also doesn’t fully sustain its strongest moments. I can see how this could become a classic for many, but for me it lands at a solid, respectable 3 stars.