An ‘experience’ to be sure, though one I really wish I enjoyed quite a bit more. I generally enjoy breakbeat type experiments, but something about (most, at least) of the beats here just grated on me more than anything, despite the production being well-handled. Out of Space is a funky good time though

A lot of the problems I have with Daisy extend to this project as well- poor lyricism and the band’s overall sound just isn’t the same as their early 2000s efforts, even with an 8-year hiatus

There’s certainly passion here that doesn’t go unnoticed, but compared to the two prior Brand New records? Much of Daisy feels like the band doing their best Modest Mouse impression, which just isn’t the best suit for the band imo

Deja Entendu strikes a highly-compelling balance between dramatic Emo-Pop and a sound that isn’t largely soul-crushing a la The Devil and God. It makes for some great early 2000s Pop Punk cuts such as I Will Play My Game, The Quiet Things, and Good to Know

It's strange- the guys in TOTO have an almost implicit charm to their approach that prevents these songs from falling into AOR hell like many of their contemporaries, despite the actual songwriting here being near-objectively subpar

As excellent as you’d expect from the collaboration (at times sounding like a ‘clash’) between three of Jazz’s early greats. The normally elegant Ellington is driven to a maximal by Mingus’ erratic bass-playing, who himself is paradoxically called to ‘rein it in’- all while Roach keeps the whole thing together. Calamity in perfect order

It’s easy to miss unless the title catches your eye, but Such Sweet Thunder is actually intended to be a Shakespeare-tribute of sorts. I’d argue Ellington certainly has more poetically-striking works that I’d identify with the acclaimed playwright before and after this release, but it’s nevertheless some very solid Swing

Not Ellington's best 50s showing, but nevertheless an excellent Big Band record that swings mighty hard. This version of Skin Deep in particular is punchy in such a fun way

What many consider the best to ever do it in Big Band music’s first masterpiece(s). For starters- the version of Mood Indigo that opens this record is, in my opinion, the finest version of the standard ever recorded, befitting since Ellington penned the original anyways. The other three pieces here are nearly as sublime- not to mention the production clarity here is absolutely stunning for 1951. Don’t let it’s relatively-archaic release date fool you- this is utterly essential ... read more

Soda Stereo’s larger-than-life sound meets the Cocteau Twins-soaked Dreamy neo-psych of the 90s, and it’s a beautiful union. Dynamo feels like an olive branch being extended between so many seemingly dissonant sounds, all while sounding as though they were always meant to be paired together

Buoyant and bombastic production help make this one of the better records under the ‘Big Music’ sub-genre title, a label I’m still frankly a bit unsure of the full meaning. Cerati’s vocals are perfectly suited for this style of immediate, energetic songwriting

As far as mid-2000s Metal reunions go, this record isn't half bad (i.e. not a flaming disaster). Compared to Candlemass' earlier works however? This leaves a lot to be desired. The vocals in particular are simply too theatrical for the music's own good

Mirror Mirror should be on any Candlemass playlist, but the remainder feels largely like ‘Candlemass-by-the-books’

Some instrumental interludes slow things down just a *bit* too much, but otherwise Nightfall is more of the phenomenal Epic Doom Metal that gives Candlemass such a unique identity. Bewitched may be the band’s best

‘Epic’ really is the most apt descriptor for a record of this scope. The vocals here are nothing short of gorgeous, an abnormality for a record otherwise so entrenched in darkness. Dynamics are the name of the game here, as it absolves any notion of the album being ‘too slow’. Take the opener, for instance- opening with a slow drawl before the crunchy, plodding riffs pour in that propel you towards the (drumroll pleas) *epic* chorus. Easily a Metal favorite from the 80s ... read more

Underworld come through with a hypnotic and progressively-building trance-techno whir. Tracks like the opener and Cowgirl push for longer song lengths but still keep things interesting by luring you in with incredible production and looping synths. The non-hits here didn't leave quite as big of an impression on me, but this is still a classic for the genre I can confidently say

Don't let that 2009 release date fool you- this record is really a compilation of Proto-Punk arbiters Death's 1975 singles. That's right- 1975. Death were tapping into the pure essence of Punk Rock- its sound, its rebellious theming, and its riotous spirit- several years before the scene finally 'went commercial'. As such, this is Proto-Punk in the way that Woody Guthrie is Proto-Folk- the brick-layers of a sound that would become largely over-shadowed by all those to ... read more

I was beginning to think AOR may be the kryptonite to the sentiment of 'There are no bad genres, just bad albums' given just how *bland* nearly every AOR release is from this time, but Boston thankfully swoops in to show that even a field of manure and shit can grow a flower. Opens with *the* AOR song to slay them all- but beyond that, the whole record stays at a pretty great consistency. The middle of the record drags a bit compared to the outer edges, but this is still an especially ... read more

If Scenery is one of your all-time Jazz records, then Mellow Dream is bound to not be far behind- which is to say it treads a lot of the same ground, but hey, it’s some good ground!

The choice to have Hexum on vocals instead of Clanton pretty properly ruins any potential this record has, which is a shame as the production here has that signature Clanton-sheen. The vocals sound more ‘Dear Evan Hanson’ than ‘psychedelic trippy-pop’