This is a band that came up in conversation with another Musicboard friend, and this is an album I listened to a long time ago and really enjoyed it. I’m still not super familiar with the whole extreme prog, djent, and technical metal side of things, so I’m still trying to fully wrap my head around it, but one thing I do really enjoy about this album is the mechanical and precise fast drum beats. It reminds me of what I used to love about bands like Fear Factory, but taken to a ... read more

Out of all the Beatles solo albums released in 1970, this one easily feels the most Beatles-esque, especially in the spirit of their late era work. That’s probably because much of this material had been stockpiled by George Harrison during his time in the band. Several of these songs were originally written or demoed while he was still in the Beatles.

For example, “Isn’t It a Pity” was first demoed as early as 1966 and again in 1969. “All Things Must Pass” ... read more

This was a fun album to dig into while listening. It’s a cornerstone of the Brazilian Tropicália movement, blending traditional Brazilian styles with psychedelic rock, British Invasion pop, and American avant-garde. Released during a period of political unrest, it was controversial and got Caetano Veloso arrested and exiled.

I finally got around to listening to this album and it was well worth the wait. UK was a short lived supergroup made up of members from King Crimson, Roxy Music, and Soft Machine. It’s an interesting combination because each of those bands had such distinct sounds and visions, but this record finds a strong balance between them. You get the complex arrangements and time shifts you’d expect from King Crimson, the jazzy flair of Soft Machine, and the more streamlined, accessible ... read more

This is the second Drive-By Truckers album I’ve listened to, and it holds up just as well as their previous album. It’s firmly rooted in Southern rock traditions, with lyrics that dive deep into Southern gothic storytelling, touching on themes of regret, pride, and personal conflict. The production is warm and intimate, with just enough polish to let each voice and instrument breathe, while still keeping that overall rusty edge that gives the album its grit and authenticity.

I can confidently say I’d take Spiritualized over Spacemen 3 any day of the week. This album pulls you into a slow burning, trance inducing space journey built on hypnotic repetition and drone heavy textures. Some tracks swell with heavy, expansive soundscapes, while others lean more toward warm, meditative ambient territory, with stereo delay, feedback loops, and manipulated sonics that create a drifting, otherworldly atmosphere. Overall, I’d call it a blend of drone rock and ... read more

There’s nothing extremely unique about this album, but it’s solid for what it is. It leans toward the more commercial side of new wave and synthpop, but it still manages to be playful and quirky at times. The tracks are filled with catchy harmonies and strong hooks that definitely get stuck in your head afterwards.

Well, this album seemed to be a letdown for a lot of people, but I actually really enjoyed it. It still carries that nostalgic psychedelic sound and atmosphere, but this time Kevin Parker leans much more into a dance and club direction. The rhythmic structure and beats lay down a strong acid house and techno foundation, and I can definitely see how that shift may have disappointed longtime fans.

I like Tame Impala, and from what I’ve heard of his past work, it’s always been pretty ... read more

I feel like I found a little golden nugget with this album. It’s groovy, funky, and soulful jazz. Overall it’s a very laid back, but there’s definitely enough energy there to just close your eyes and sway your head to the groove.

This album really connected with me because it reminds me of a lot of house producers I used to listen to. It honestly sounds like a precursor to NYC style of house music. The kind that was more soulful and jazzy, usually with Latin influenced ... read more

This is definitely a classic album that helped define American Hardcore. I have to admit, listening to it now doesn’t quite hit the same way it once did, but there was definitely a time in my life when this album hit hard and really resonated with me. For anyone researching the roots of Hardcore, this is without a doubt one of the top albums to check out.

When it comes to King Crimson’s first stretch, this album really shows how far they progressed as a band in just a handful of years. The lineup was stripped down to three core members, which were Robert Fripp, John Wetton, and Bill Bruford, but the music sounds much bigger than just the three of them. Sure, there were guest and session musicians involved, but what really stands out is how they delivered a fresh and expansive new vision of what 70s prog rock could encompass.

The ... read more

When it comes to classic dreampop and shoegaze albums from the early 90s, this one is definitely essential. To me, it really rides the line between shoegaze and dreampop. From the very start, it has a strong resemblance to Cocteau Twins, but toward the end, the atmosphere really begins to take on a Loveless-era MBV vibe, but just not quite as noisy as MBV.

This was a very good album from Eric Clapton, and what I really enjoyed was the way they incorporated the organ and piano into the jam sessions. So if you like blues rock with a jam band vibe, then you’ll definitely enjoy this one.

One interesting backstory about this album, is that I was once told that “Layla” by Eric Clapton was about him secretly being in love with Yoko Ono. I always thought—seriously? Out of all women, why Yoko Ono??? Yuck!!! Anyway, after ... read more

Awesome EP for modern day grunge revival. The guitars are thick, distorted, sludgy, and downtuned, with a dense layer of noise and fuzz that gives the album a strong grungy shoegaze atmosphere.

For fans of Krautrock, early electronic music, or even late era Pink Floyd, this is definitely a fun album to check out. It falls under the genre known as Berlin School, which evolved out of the krautrock scene but shifted focus toward early electronic music built around modular synths and sequencers. The style is usually more ambient and has a kind of space exploration vibe.

This album definitely lives in that realm, but unlike some of Ashra’s earlier albums, this one brings guitar ... read more

Not a bad album for post hardcore and noise rock with a shoegaze atmosphere. It’s one of those records that’ll at least keep you engaged enough to listen all the way through, but it’s also pretty forgettable once it’s over. It just kind of blends in with a lot of other mediocre albums I’ve heard in the past. It’s nothing terrible, but nothing that really stands out either.

If Alice in Chains and Deftones had a one night stand back in the day, this would be their love child. This one leans heavier and darker than their previous material, mostly because they set out to capture the raw energy of their live performances, which, from what I’ve heard, are amazing. If you’re someone who enjoys 90s grunge, this one is definitely worth checking out.

This was my first time listening to this particular album from Big Black, and I have to say it definitely delivers. Like the rest of Big Black’s catalog, it’s loud, harsh, and aggressive as hell. The music feels like a fusion of hardcore punk and industrial. It’s unrelenting and abrasive from start to finish. One of the standout elements is the use of a Roland TR-606 drum machine instead of a live drummer, which adds a cold, mechanical feel that really cranks up the intensity. ... read more

This is one of those albums that really makes sense when you consider the time and place it came out. Released in 1988, it landed right as post punk was fading and new styles like shoegaze, indie, and noise rock were beginning to take shape. As a debut, it feels like a bridge between the jangle pop and post punk sound of the early 80s, and the more atmospheric and dreamy direction alternative music would soon head in. It’s a snapshot of that shift—and while it’s subtle, ... read more

Well, I can’t say I was excited about this album, but it wasn’t too bad. I really have a hard time appreciating this type of rap and hip-hop the way some people do. It fits just about every stereotype, so it’s hard to give it credit for being “authentic and original” in any meaningful way. But other than that, there’s not much more to say about this album.