Reviews by tjehl

I hate this record with a passion.
I hate it, I hate it, I hate it.
I would officially like to retract every one star review I’ve given to other records and award them at least a two.

There are absolutely no redeeming qualities on this record. The instrumentals lead to nowhere, apparently the good version of “Brimful Of Asha” is a remix so we have to listen to this sleep inducing original - and Cornershop never seem to be able to come up with an idea that works.

If the title is to be trusted, I would like to thank the person that ended Cornershop the first 6 times.

Prima record!

Try not having a good time listening to this, you rascal you.

The album where Yes truly began defining the band they were to become.

The grandeur starts to show and especially the stereo mix on “Perpetual Change” is out of this world.

Mix it up with the drumming of Bill Bruford (easily one of my favorites) and bass playing of Chris Squire and you have yourself a winner.

This supergroup debut contains some of the greatest folk songs ever recorded with some of my favorite vocal harmonies to go along with them.

They really do suit each other unbelievably well.

A horrible take on ska and humor that absolutely nobody other than the band itself think is funny. Luckily the production is always boring.

It’s no wonder most of the band decided to quit after releasing this.

Pretty good synth pop, but I can’t help feeling that this album is mostly here because of its smash hit closing track.

It really takes something unique within this genre to blow me away - and The Human League don’t quite deliver that.

What really makes Ride stand out from their showgaze contemporaries is their heavier and more straightforward approach to the genre. When they fully emerge themselves in this, as on “Dreams Burn Down”, they really are in a league of their own - it’s just not often enough that they fully indulge in this.

Nobody sounds quite like Cocteau Twins.
It might just be one of my favorite overall sounds of all time. They’re absolutely brilliant.

You never know what to expect when Beastie Boys arrive - you only know that it’ll be good.

There’s simply no denying the greatness of BB’s innovative mix of sampling, raunchy vocals, live punk instrumentation and insane attitude.

They start to lose grip of the record around “Eugene’s Lament” but luckily they regain it with “Heart Attack Man” and keep on delivering for the rest of Ill Communication.

It’s not until the brilliant last song that I finally get what John Martyn tried but ultimately failed to do with One World.
The rest of the record is just boring and uninspired…

Winwood is an excellent instrumentalist, songwriter and producer - and this completely homemade record shows.

One of the major releases of the late 00’s.
The Followills really nailed what everybody seemed to long for at exactly the right time.

Caleb’s vocals are extremely emotional and powerful, Jared’s bass playing is playful and Nathan’s drumming is always a breath of fresh air.

There’s a chance this might be dated - I might still be too much in love to notice it.
And when you close an album on “Cold Desert” (a go-to late night favorite of mine) I have nothing bad to say.

Airy productions and great vocal performances by Kelela.

It’s all fine but maybe not inventive enough to deserve a spot on this list? I can appreciate it though - but I’m not exactly the target audience.

How many congas players are too many?
On Palo Congo there are 5, so the answer is somewhere lower than that.

As good psychedelia and folk rock gets.

A strong collection of pop songs neatly disguised in a cloud of J Masic-esque distorted guitars. A great rock record that is just slightly too long.

Some pretty synth pop that never exceeds any expectations. No surprises, but no real let downs either.

A phenomenal hip hop album proving that you can produce a 70-minute album without filling it with skits. It stills overstays its welcome a bit, but there’s no denying the greatness of this Roots-era.

I keep telling myself that Elvis Costello just isn’t for me. That said he does a pretty good job of convincing me otherwise.

I start to get why he is such a big deal for some people. The quieter and more jazzy songs I could have done without to make the record more tight - but it’s really quite good Costello, gotta give you that.

For a band with such a boring name as XTC, this semi-conceptual, semi-psychedelic trip sure sounds like some of the member indulged in ecstasy while … Wait a minute?!