Stephen Pearcy’s voice is definitely a little weathered and aged, but other than that, this is a comeback album done right. They’re not reinventing the wheel, but just tapping back into the same energy they had in the 80s. What really stands out is how they pulled this off without it sounding like a cheap rip off or a lazy money grab. It feels genuine, like a band that still cares about doing what they do best.

This album leans more into indie garage rock compared to the dreamier, more polished sound Tame Impala developed on their later records. It has a really strong vintage 60s feel, but it’s still clear that it wasn’t made in that era. The guitars are super fuzzy, and you can definitely pick up on the phaser and flanger effects, which really help bring out that retro psychedelic vibe. The drum beats had a breakbeat driven energy that gives the whole thing a bit of an album the modern ... read more

This is one of the best albums Ric Ocasek released outside of The Cars. While The Cars’ sound gradually evolved into a more melodic synthpop direction over time, this album picks up right where they left off, and then dives even deeper into that glossy, lush atmosphere they were known for. This album was also produced by Chris Hughes from Tears for Fears, which definitely explains some of the layered, cinematic production vibes throughout the album.

This album was ahead of its time for the late ’90s. I genuinely believe it helped pave the way for the electroclash movement and the indie rock surge of the early 2000s. I can’t think of any other bands from that era who managed to strike a unique balance between electro, dance vibes, and punk energy.

As for its relevance today, I think it will always hold its place as an influential album in underground music history. That said, for me personally, the album has about three really ... read more

It’s been so long since I’ve listened to this album. My dad owned it back in the ’90s and would always play it in his truck. I even remember seeing the movie a few times, but my memory of it is pretty vague. What I’ve always loved, though, is the premise of this concept album, I mean, a deaf, dumb, and blind kid who grows up to be a pinball wizard, and then becomes a spiritual leader? Who, in their right sober mind, could have ever come up with a story like that?!

On this album, you can really hear a refined evolution for Roxy Music. If you listen to their catalog from start to finish, you’ll notice a gradual growth in polish and refinement across their songwriting, instrumentation, and most importantly, their production. This is the album where they truly found their niche for radio friendly, glossy music with that cosmopolitan, glamorous sound. At the same time, they maintained their avant garde edge, which gives the record its sophistication.

I can’t say I really enjoyed this album, but overall it’s pretty decent for experimental R&B, avant-pop, and art pop. It’s a very minimal record by nature, and it really takes advantage of negative space in the production, the silence and subtlety between arrangements become part of the atmosphere. If you’re into the more experimental side of someone like Björk, then this will probably be right up your alley.

This is a solid album for 70s hard rock and early metal, especially with that bluesy edge running through it. I love Michael Schenker’s melodic and catchy guitar riffs. UFO has always been an interesting band, because they’ve got the talent, the songs, and the musicianship, yet somehow they always seemed to fall just shy of the big success they were aiming for.

I was curious about this album since it was the first after Roger Hodgson, one of the band’s co-founders, left. You can definitely hear a shift in sound. This one leans heavily into that polished 80s art rock style. Honestly, it seems like any band tied to the 70s prog rock scene eventually morphed into an art rock act in the 80s. One of the cooler details here is that David Gilmour of Pink Floyd contributed his signature atmospheric guitar work to the 16 minute title track.

This one caught me by surprise. The last Suede album I listened to was pretty mediocre, so I went into this one a little hesitant, but I ended up enjoying it. It sits on a Britpop foundation, but there’s this dark glam element that gives it a heavy, almost cinematic atmosphere. The vocals are theatrical and grandiose, almost operatic, and the whole album carries a moody tone. Normally, by the way I’m describing it, you’d think it wouldn’t appeal to me, but somehow it all ... read more

I loved this album. The opening track feels like classic Smashing Pumpkins. Wednesday is overall an indie country and shoegaze band, but here they lean much heavier on the shoegaze, grunge, and noise rock side of the spectrum. The indie country element is more of an accent, woven in just enough to fill the spaces and cracks, adding texture without softening the album’s edge.

This is a great late 90s downtempo album, and I’m pretty sure I remember listening to it back in the day. I also remember a lot of his music ending up on compilations and DJ mixes. An interesting backstory to this album is that shortly after it was released, Suba’s apartment and studio caught on fire. He initially made it out safely, but decided to run back in to save some of his gear and the recordings he was working on. He ended up suffocating from smoke inhalation and lost his ... read more

So far, up to this point, the only Dylan material I’ve heard has been from his 60s and 70s albums. He stays true to his folk blues roots, but what really drew me in was the humid, murky, and hazy atmosphere. Producer Daniel Lanois gave the album a spacious, echo heavy, and moody soundscape that perfectly aligns with Dylan’s gravelly, ragged voice. Although it’s deeply rooted in the past, the production keeps it relevant for its time, giving it a moody character that reminds me ... read more

If you like bands like Broadcast, Tame Impala, Stereolab, or the dreamier side of King Gizzard & The Lizard Wizard, you’ll probably have a lot of fun with this album. This album is deeply rooted in late ’60s and early ’70s psych and space rock traditions, but they present it with a much more modern production style. The sound is richly layered, with panning that creates a real sense of depth, while reverb and delay heighten the dreamlike quality. Overall, it’s ... read more

So when I started this album, it felt fun and playful with its hyper technicality, unpredictable changes, rapid tempo shifts, bizarre rhythms, and constantly morphing dynamics. Their sound is precisely calculated, mechanical, and chaotic. But before long, it began to wear me down. The initial intrigue gave way to a sense of emptiness. It completely lacked emotional depth. The relentless technicality started to drain rather than stimulate, leaving me feeling almost brain-dead because there was ... read more

Morrissey’s solo work can be hit or miss, but I think this is one of his better albums. While it still features those signature jangly guitars, the overall tone is much different from his work with The Smiths. Here, the sound is more mature, lush, and refined, which pairs perfectly with his melancholic vocal delivery.

It’s not a bad album, especially for its time, and it’s definitely an influential release that helped define early thrash metal. This one featured a different lead singer, and personally, I didn’t think too highly of him. They also included a fun cover of “I’m Eighteen” by Alice Cooper.

I remember hearing this album when I was a kid. My dad used to always play it, so it still gives me a strong sense of comfort. Even now as an adult, I absolutely love this album for its ‘80s pop aesthetics, which really made it stand out for its time. Obviously, it’s not the same as their more complex 70s work, and by this point, most of the original members were no longer part of the band. But this album marks a new, reinvented era of Yes, and it works in its own way.

Awesome Southern Gothic Americana and country mixed with noise rock and shoegaze. The production is lo-fi, fuzzy, and murky. This is basically a cover album, but every track is reinterpreted through their distinct country-gaze lens, giving each track a new identity.

I personally think this is one of the defining albums that helped merge noise rock with the emerging alternative and indie rock scene of the late 80s and early 90s, and paving the way for bands like Dinosaur Jr., Pixies, and Pavement. This also feels like one of Sonic Youth’s key bridge albums, sitting between their NYC no wave and noise rock roots and the more grunge leaning alternative sound they’d explore later in their career.