This album doesn’t have the more psychedelic rock and shoegaze sound that I’m used to hearing from them. Instead, it leans more into psychedelic folk and indie country. It’s mostly led by acoustic guitars that are often slightly out of tune and played with a rough strumming style, purposely giving it a raw, unpolished feel. It definitely feels like a departure from their usual sound, but it still has that distinct BJM character in its looseness and unpredictability.

If you’re a fan of Steve Albini, then this is one of those rare albums really worth checking out. This was actually my first time hearing it because I finally found it on YouTube, but I remember looking for it years ago, before the days of streaming, and I couldn’t get my hands on it. That’s because this was one of those albums that was purposely never released to the public. Instead, it was hand delivered to personal friends of the band.

On this album, Albini really pushes ... read more

I’ve actually never listened to this album from beginning to end until now, but I’ve always been familiar with a good handful of these tracks. There are a few like “Changes”that I could honestly do without, mostly because I’ve already heard them a million times. That said, this is definitely another one of those precursor albums to stoner metal. So much of it sounds exactly like what the stoner metal bands were doing in the early to mid ’90s, which really ... read more

This was the first album I ever heard from Converge, and I really loved the chaotic, aggressive approach. What stood out most to me was the theme of anti idolization, not just musically, but within society at large. That message, combined with the raw intensity of the music, really made an impact, and it’s what punk and hardcore is all about.

So after the flop of their last album, which was trying to be more mainstream friendly, they decided to go back to their roots of power metal. Overall, this is a really good album for what it is. It definitely has that typical ’80s production with the hall reverb, giving the whole album a shadowy, cathedral like presence, but it actually works really well with the theatrical and operatic sound they were going for.

This was another great album from The Divine Comedy, especially from his output in the ’90s when he was probably at his peak. I’m usually not the first person to talk about vocals, since I’m more drawn to the music that surrounds them, but I have to admit, I really love his wordplay. On one side, it’s witty, smirky, and tongue-in-cheek. On the other, it’s suave, refined, theatrical, and delivered with sincerity. He’s very articulate and precise, yet still ... read more

This is Blue Öyster Cult at their best, making classic 70s hard rock that flirts with metal, progressive rock, and even a bit of glam. What really stood out to me is that jam friendly, boogie infused Hammond organ that rides just beneath the guitars. It adds this “get up and move” energy that brings a barroom swing vibe, keeping everything loose and alive. Even though it’s a studio recording, the album still feels lively and in the moment.

This album definitely had potential, but I think it fell short because they didn’t seem to have the music theory knowledge or structural grasp to fully execute their vision. They were clearly going for a neo-psychedelic noise pop sound, which is a great concept, but the final product doesn’t quite hold together. At times, it just felt like a blurry splatter of noise where different elements weren’t properly aligned. I’m not a musician, so I can’t explain it ... read more

For being their debut album, I really enjoyed this one because it was just as fun of a ride as some of their later albums from the late 90s. Like always, they have a strong punk-influenced surf rock style with an old school science fiction edge. On this album, the surf rock takes more of the lead while the sci-fi elements feel more like a backdrop. Even though it’s a bit more straightforward, it’s still catchy, groovy, and full of hooks that make it easy to get into and enjoy from ... read more

I really enjoyed this album because they really found a solid balance where the energy was upbeat and the guitars were still running strong, but there was also a major focus on the synths. It felt like the synths were guiding the direction of the songs, but the guitars were just as dominant. The whole time I was listening, it kept reminding me of Gary Numan, and after looking into it, I found out that he was actually influenced by this album, which explains why that connection stood out so ... read more

When it comes to TV on the Radio, they’re one of those bands where I genuinely enjoy the music itself, meaning the instrumentation, the textures, and the experimental edge are all really solid. But on the flip side, the vocal delivery leans heavily into that distinct indie rock style, and for me, it just doesn’t complement the music at all. If anything, the vocals feel like they undercut or even discredit what the instrumentation is building. I honestly feel like I’d enjoy ... read more

This album is a concept record centered around a dystopian, apocalyptic world, and it’s clear the Scorpions were aiming for a modern metal sound that fit the 2000s scene. At first, it almost blended in with the Slipknot album I had just finished, which caught me off guard, and honestly, that more polished, heavier approach didn’t really do much for me. But as the album went on, I started to appreciate the more melodic tracks that felt closer to their older material, especially their ... read more

I’ve always overlooked Slipknot because they were so popular, and I figured my time was better spent digging into more underground artists. But now that I’m going back and actually listening to their albums, I have to say they’re a pretty solid band. This album is still aggressive, but it’s definitely more polished and melodic compared to their earlier work. It leans heavily into groove metal and has a more radio-friendly sound overall. Even with the cleaner production ... read more

I really have a weak spot for these old electronic and dance albums from the late 80s and early 90s. This was a fun listen because it shows a different side of Coldcut compared to how they sounded in the late 90s and early 2000s when I was first listening to them. It really highlights how early they got involved in the scene and how innovative they were even back then.

They make great use of synths and electronic gear, but what stands out most is how sample heavy this album is, because it ... read more

Let’s just say, if you’ve hit rock bottom, torched every meaningful relationship you’ve ever had, and managed to completely derail your life, only to turn around and feel sorry for yourself while drinking yourself blind on a Tuesday morning, then congratulations, this is the perfect album for you. It’s like a warm hug from your own self destruction.

This wasn’t as bad as I was expecting. For the most part, it’s a pretty cohesive album all the way through, especially considering how many different producers were involved. What really gave me something to connect with was the production and overall vibe. It leans heavily into an electro ambient soundscape layered over smoother, modern trap beats. There’s even a section where she experiments with chopped and screwed style production, which I usually enjoy, but I didn’t ... read more

So I haven’t really done much research into the earlier, pre-Black Sabbath days of metal, but out of all the music from the 60s I’ve heard, I’d say this is probably the best metal blueprint album I’ve come across so far. This album definitely pushed the boundaries of psychedelic and blues rock with thick, fuzzy, distorted, and overdriven riffs that almost sound like a speaker on the verge of blowing out. The drumming isn’t about speed, but it’s strong and ... read more

I personally consider this album to be the first true noise rock record ever made. Of course, that’s debatable depending on how strictly you define “noise rock.” Artists like The Fugs, Red Krayola, and The Monks had already flirted with noisy, abrasive sounds, but none of them matched the sheer feedback driven aggression you get here. The Velvet Underground throws all caution to the wind, embracing raw distortion, amp noise, and complete chaos.

The production is deliberately ... read more

This album definitely takes me back to the early 2000s because I was a huge fan of UK 2-step garage. MJ Cole had a more sophisticated, smoother, and jazzier edge to his style, along with soulful vocals and lush string arrangements. This album features intricate 2-step rhythms with syncopated snares and swung hi hats, which were classic traits of garage at the time. And you can’t forget those deep, rounded basslines that never overwhelm, but instead blend smoothly with the rest of the ... read more

I would definitely agree that this album is a blueprint for a lot of modern ambient and electronic music. I remember back in the mid 90s when I first got into underground dance music, I was already reading about how so many of the artists I liked at the time were heavily influenced by this album. Brian Eno is an amazing musician all around. From his work with Roxy Music, to the rock albums he produced in the 70s, to his ambient series, and even his more experimental and film score style ... read more