What a feckin band right? Gareth Liddiard is one of those songwriters whose colorfully nasty prose is almost as enriching to read as it is to hear sung over sloppy, scatterbrained, seasick guitars. Almost. Odd comparison coming up, but one of the only other lyricists who makes me feel this way is Fiona Apple. That should tell you that I ain’t joking here. This is another exemplary showing for TFS, a big step up from 2021’s ‘Deep States’ and every bit as good as my ... read more

Yesterday this song came on the radio while I was drunk off of two shark-themed cocktails and a couple swigs of red wine standing in line at an airport Shake Shack waiting for my chicken sammich and by the time the key change rolled around I remembered that this song sucks crap.

Top 10 best-produced albums… ever? Quincy freaked it here. The horn runs on “Workin’ Day and Night” sound intergalactic. Eccentric, fresh, and infectious. I think I *would* like to like my life off the wall, actually.

I’ve had this shit in constant rotation for like 10 years. Never get tired of it.

psyop-pop

I'm honestly blindsided by how much I hated this. I liked Addison Rae's debut EP, loved "Diet Pepsi" as a single, but man, I found this full album experience to be totally drab. At a glance I can *sort of* understand where the sudden swell of critical acclaim for Addison's music is coming from; Much is being made of the Y2K aesthetic, but I can hear much more explicit influence from the early work of 2010s electronic music trailblazers like James Blake and ... read more

I love Bob Dylan's music, I love country music, but I can't say I care much for this. There's a nice rustic warmth radiating off of the instrumentals on 'Nashville Skyline', but that odd, warbly little voice that Dylan does on the entire LP is a real tough pill to swallow. Dylan's a creatively restless guy, I can understand why after eight albums of verbose, witty, almost literary folk and rock music, he would want to shake things up and opt for a simpler ... read more

Massively massively influential record, surely one of the most important of the early 60s. That said, I don't much care for her voice.

Side A is decent, but side B is a total tour de force of late 60s American rock music. Rootsy, flavorful, and quite thoughtful too!

Business as usual from TOBACCO, which ain't such a bad thing because I really love TOBACCO. There's plenty to passively enjoy here, and "Demon's Glue" is likely one of my favorite tracks from across his entire discography. Still, I could've used a change of pace or two.

go away :(

I wouldn't say it's GREAT, but there's certainly something special in the sauce on this one. "Feisty" is one of the sneakiest little jams I've heard in 2025 so far, and "You got time and I got money" was quite lovely too.

The appeal of this one escapes me. It’s like if you took a Beach Boys album and removed basically everything I like about The Beach Boys lol. I’m here for lush arrangements and beautiful pop melodies, not to hear Brian Wilson and the gang try their hand at some rough and raw soul music. “Darlin’” is a great tune though, easily the standout. I’ll just take that one with me and move right along.

'Even in Arcadia' finds alt-metal's latest discourse lightning rod going all in on their pop sensibilities, or their lack thereof. While i wouldn't say I care for this, I actually found this album to be marginally less insulting to the ears than 'Take Me Back To Eden'. Despite the starker, more eyebrow-raising attempts at genre fusion that can be heard in certain pockets of this record (the first minute or so of "Caramel" is shockingly bad), the overall ... read more

I think the tracklist of 'Funky Kingston' has more of a cumulative effect than this record here, each song adding something special to what is an undeniably wholistic listening experience. 'In The Dark' feels more like a simple "collection of songs" when compared to it's predecessor. That said, this is still an almost supernaturally good collection of reggae tunes, delivered with the band's soulful signature sound. Toots is on fire here, his impassioned ... read more

Lotta career highlights on this, but "It's Alright Ma (I'm Only Bleeding)" is just unbelievable.

Absolutely groundbreaking synth punk, an early forerunner of industrial rock. The A-side's alright, but "Lady Coca Cola" is the one I see myself coming back to. Wilder vocals, a more methodical runtime, and stronger riffs all around. I think that many of the later groups that were influenced by Metal Urbain would go on to release music that is more memorable and more palatable than this single, but the innovation is undeniable.

She done leveled up with this one.

A noticeable step up from 'Cave World', even if I think the band's schtick really hasn't evolved since the days of 'Street Worms'. I still don't find the band's brand of absurdist satire to be particularly biting, or even all that interesting, and the overall sleazy scumbag persona still feels like a put-on much of the time. All that said, the sneaky tunes and ugly-as-sin grooves are undeniably well-assembled, and that's the most important thing at ... read more

Very strange record. Overlong, full of detours and dead ends, sometimes psychedelic, sometimes funky, a sprawl that occasionally scrapes the divine. You're telling me Robert Smith had "Just Like Heaven" locked and loaded and he still chose "Why Can't I Be You?" as a lead single? Why indeed... For me, "Just Like Heaven" is one of those endlessly beloved, canonical "all-time great songs" that I just can't say a bad thing about. The consensus ... read more

Totally wicked. Instant favorite.