Reviews by ryzgee

Not shite, but not really my go-to thing. Pleasant enough sonically but requires a specific mood. It goes a bit reggae at points, which amounted to the more interesting and uplifting aspects of the album. Thumbs in the middle from me, might re-evaluate down the line.

I didn't hate this as much as I expected to, but even at only 27 minutes long, it felt like an eternity to get through. I'd like to think my musical palette is fairly diverse, however I have very little time for this type of "bandit country" music. I'm sure this was an important album in some way, shape or form as to find itself on this list (or am I?), but it's just too rudimentary by today's standards.

It took a little while for this one to fully register with me, and even now, I have to be in a very specific mood to gravitate towards Funeral over other records in my collection (the first 1001 entry I've had which I own on vinyl, as of writing). However, when such an opportunity comes around, this is a sobering listening experience, conceptually focussed on themes of death and the loss of childhood innocence as a result (thanks Wikipedia, I'm not feeling particularly free-thinking this morning).

The album encompasses a wide range of emotions which ensue from the grieving process - denial, resentment, acceptance and a sense of emptiness after the fact. Sonically, there is ample variety on offer and there are bountiful layers of depth to unpack - an indie rock album at its core, but with some artsy, chamber-esque nuances accentuating it.

Win Butler's swooning, at times warbly vocals initially proved an obstacle in which I had to navigate, but I've since grown to appreciate them as a fine accompaniment to the album, oozing with believability.

An album I'm already quite familiar with, and a listen which brought out all the emotions in me as Japan were one of my Dad's favourite bands. He essentially modelled himself on David Sylvian as a teenager, beyond just the looks.

As far as the music goes, this was a notable stylistic shift for Japan in that the album pivots almost entirely away from the glam-post-punk type of sound which defined their earlier era, in favour of a more experimental art-synth pop direction. Japan were often associated with the new wave scene in terms of their aesthetics, broader appeal and links with other acts of the time, although that label doesn't do them anywhere near enough justice, particularly as you approach their last couple of albums. This is a surreal experience with a kind of nocturnal vibe hanging over it, although I'm somewhat surprised to see it in the 1001 over Gentlemen Take Polaroids or Tin Drum, if I'm honest.

This is a serene, soulful jazz-fusion album, easy on the ears however lacking in the crazy, off-beat twists and turns which define my favourite albums and artists of the genre. It's also pretty damn long at 76 minutes in length, which I'm not entirely sure is fully warranted given what is explored (or not) across its running time.

I can sometimes vibe with this sort of stuff, but I wasn't particularly in the mood for over an hour of it today, and I didn't last the course.

Van Halen are one of those bands where I'm familiar with their big singles, but I've never dived into their catalogue to any degree of depth, or had much of an urge to. Well, it would seem as though I've been missing out on such a fun time.

In your face, arse-shakingly catchy, serotonin-soaked bangers aren't at a premium here, and whilst the second track "Eruption" could have proved to be a pretentious venture mere minutes into the album's running time if it wasn't as good as it actually is - fortunately, the solo-ing is absurdly good.

Very much enjoyed this, and will be back again.

Ahh, the banana album. I'd actually fairly recently revisited this prior to today's undertaking, so it has remained fresh in my mind.

Fearless, unsettling, and weird yet strangely accessible in some respects, it would have been a travesty if this hadn't been an entry of the 1001. This was years ahead of its time, and it still sounds just as vital approaching 60 years later. Nico's contributions to the album only elevate the sense of eeriness and detachment evident throughout, still provoking debate to this day, although for my money they are just as crucial a component of its makeup as any of the unorthodox-of-the-time instrumentation. My Dad was a huge proponent of this album, released during his birth year of 1967, and it was one of the first records he ever purchased alongside the likes of Pink Floyd and Kraftwerk.

Not quite The Chemical Brothers' strongest offering, but a mightily impressive debut album wherein the group didn't wait around to firmly cast their imprint into the UK electronic music scene, and many acts have since borrowed its nuances, ensuring that it retains a significant legacy befitting of this list.

Of their discography, this album does perhaps sound the most applicable to the mid 90s era, with a somewhat dated sheen to it, although not one which compromised my enjoyment whilst revisiting today.

I am somewhat familiar with Beck, having heard Odelay once or twice (though I can't recall much from it). Everything else he's attested to is new to me, though.

I liked a reasonable portion of this - mostly for the trippy/psych pockets it explores, and appreciated the experimentation throughout. The production, to its credit, has aged well, too, allowing the dreamy elements of the album to envelop the listener. However, it really did feel lengthy and like a struggle to get through in one sitting. I'm also unmoved by the vocals, which serve a purpose but don't really capture my imagination. I found my attention drifting a bit towards the middle, and couldn't immediately recall what I'd just heard prior, but "Hell Yes" reeled me back in again as a vastly different hip hop track with a classic 90s feel to it.

This was an absolute joy, and of the albums I've dived into so far, probably the one I'm most likely to want to put on again immediately after the fact.

Wonderful folk-soul relatively simple in its arrangements, but this is a shining beacon of strident positivity and wholesomeness. Love the funky bass lines and mischievous piano populated throughout the album, and Joan Armatrading commands such a presence vocally with a real swagger and pomp. There is also bountiful variety in simplicity here as to consistently retain my attention.

Can't think of any significant criticisms for this one, it's gone onto my vinyl wishlist.

An enjoyable experience from an artist I've never really checked out in any capacity. This very much has proto-progressive rock tendencies without being clearly identifiable as such, falling into a strange stylistic category of psychedelic pop rock which is that bit more challenging and unconventional than you'd expect. The songs take on a bittersweet, high-key yet bordering on melancholic approach, which is always a welcome juxtaposition.

My main criticisms of the album would be that the production is somewhat suspect in patches - the vocals can become a bit scratchy/overbearing in the mix, and it does hit a bit of an impasse in its mid-section - "Student Demonstration Time" is a minor dud with these production issues becoming quite glaring.

I've quite enjoyed this album as my first exposure to any of the band's material.

Its production is a big stand out for me - it boasts definition and provides a rock solid platform for the entrancing, spacious soundscapes which are aplenty here. This is very much a late 90's album in terms of its character and sound, but it translates well into the modern landscape too, with clear nods to shoegaze and hints of garage rock observable alongside the bendy, warpy psych-rock which takes the primary precedence. It's not all drifty here, however, with several tracks unafraid to dial up the energy a bit - notably "Not If You Were The Last Junkie On Earth" and "Cool as Kim Deal".

Very keen to dig further into their catalogue going off this evidence.

Billed as a "rock opera", I hadn't sat down with this album for a number of years prior to this morning, and it's been a welcome nostalgia trip back towards my preteen and teen days.

A bit of an overblown concept tying the album together perhaps, but the songs here are undeniable. I'm still of the opinion that this would only have stood to benefit if "Wake Me Up When September Ends" rounded off the album, but numbers such as the title track and "Boulevard of Broken Dreams" have quite rightly earned their status as some of Green Day's most recognisable and widely renowned tracks.

An agreeable enough time. Pub rock not of the leaden variety, but this is unlikely to be one that I'd be itching to return to. A tad rudimentary for me by current standards, and perhaps a bit too carefree and joyful sonically for my largely grubby tastes, although one where I can understand the appeal it would have harboured.