Reviews by nevele

I enjoyed this album a lot. Great pop album, sort of a bit of the more poppier version of Echo & The Bunnymen

This album is incredibly fun. Alongside Electric Six's debut album, it combined disco, dance, and rock during a time when much of the music was depressingly bad.
Now this album is no 5* album by any account, there's just too many songs on here that don't hold up at all, and didn't even do on my first listen back in 2004.

But Laura, Take Your Mama Out Tonight, Tits On The Radio and Filthy/Gorgeous are still songs I play when I'm DJ'ing somewhere and will still fill any dancefloor, regardless of age groups.

This is a very entertaining album! The record hangs somewhere between Postcard bands like Josef K, Fire Engines, and Orange Juice and the later, more commercial Tropicanapop acts, Culture Club, Duran Duran, and especially Wham!, and can also be seen as the missing link between these two movements.

This pop is bouncy, funky, but in most cases also damn cleverly put together (Milk Firm, Lemon Firebrigade).

It's a 3,5* album, I'll put it at 4

Prince has made a myriad of bad albums.

This is not one of them.

I have always appreciated Slipknot for bringing a new wave of young fans to the loud side of music. However, when it comes to listening to this album as a standalone piece, it falls short on multiple fronts.

The album feels like a mishmash of disjointed metal tracks, suffering from a severe identity crisis. I found myself reaching for the skip button quite often by my third listen, which certainly does not make for an enjoyable experience.

There are some highlights, though. The opener, "Gematria," is loud and features some incredible guitar riffs. "Gehenna" is another standout track, albeit much slower, where Slipknot captures a creepy, Deftones-esque atmosphere.

Unfortunately, many of the songs give off the impression of a band trying too hard without truly taking off.

It's a great record, too bad the second half is a bit less. This is just old-school feminist punk à la X-Ray Spex, but with some electroclash where the horns sounded twenty years ago. Nice and sharp and fresh, but not outstanding.

This is not my kinda jazz, but I appreciate the musicians clearly having fun

Nashville country-pop, where it goes more into pop territory.

Pretty middle of the road.

This album was really a let-down after that amazing first album by N.E.R.D.

I mean, this really isn't bad, but they played if safe, never reached the heights they can achieve.

I've been unapologetically enjoying this album all day. It's a true delight in rock music, where Alice really goes all out—especially in terms of production, thanks to Bob Ezrin. This album is phenomenal, filled with only strong songs and sound effects that enhance the listening experience, like the cheers in "Elected" and the drill sounds in "Unfinished Sweet."

It's also clever how he addresses some pretty unusual topics. I still believe this is his best album, and it’s definitely much stronger than the other one on this list.

It's good Elvis Costello album with a few songs that rise above

You won't find them more threatening, sleazy and grimy. What an idiotic superb album.

Besides the great music, the liner notes of Ian Anderson about this album are fascinating:

"The tale of how this record finally got released here is too involved to repeat in full. One copy of the original cassette found its way to Britain and acquired legendary status among devotees of West African music. Dreams of tracking down the tapes continued unfulfilled for several years until Baaba's English debut in 1988.
By then, the original mixes were long lost, but the multi-track tapes of most of the songs were unearthed in Dakar. Hunting for the remainder met a dead end but, to our joy, produced the tapes of another whole session recorded some months earlier. What you have here is a nearly-lost classic of Senegalese music.

In November 1988, Baaba and Mansour got together again for a triumphant London concert, proving beyond doubt that this acoustic setting for his music remains equally powerful alongside the complex might of the current electric band"

My least favorite album in the Boy-October-War triptych isn't necessarily due to the songs themselves, but rather because of the shrill and dry production by Steve Lillywhite.
And I really don't think there's enough talk about the horrible production on this album. Especially the sound of the drums sounds completely crap. I can still hardly play this album all the way through without getting a slight headache.

I played this album again and what is striking - and I noticed this about other Lillywhite productions from the same period - is that the sound has a rather narrow image, flattened, tinny and shows little to no dynamics. It seems that the up-tempo songs (singles) were meant to be able to sound loud on a transistor radio on the beach of Farawayistan - a trick that DJs do use when their system is capped (due to noise pollution): turn up the highs a lot.

Some decent songs on here though, with Surrender as highlight

The album is somewhat inconsistent, featuring a laid-back vibe alongside a few intense standout tracks. While the album begins strong, it unfortunately loses momentum toward the end.

Very consistent dreampop album, with only a few dips in quality. Unfortunately, it also lacks notable highlights that would give it a higher score. While the flow of the album is enjoyable, many of the songs feel somewhat interchangeable. After listening to it three times, I'm still unsure which tracks I would consider favourites.

Walker’s second untitled album, which is part of a series that includes two more albums identified only by numbers, has a sugary sweetness that leans towards kitsch. Despite this, he manages to deliver a convincing experience. His fascination with Jacques Brel is evident throughout the album, particularly in his covers of "Jackie" and "Next."

I never knew how lovely and interestingly post-punk the Sugarcubes actually were. I enjoyed this!

These musicians have a solid grasp of their influences. The Beatles, Nirvana, Supergrass, Radiohead, among others. While the album may lack originality, it is a well-crafted and not unenjoyable collection of several energetic rock tracks and some pop ballads.
Overall, it's a nice enough album but feels completely lacking in soul.

A standout hip-hop album that could benefit from some editing. The best parts are exceptional, but there is some excess material that stops this from being an absolute classic