If there’s one thing I’m honestly sick of, it’s the early Beach Boys’ sleazy surf rock sound, because the whole beach and girls formula got played to death. So I wasn’t exactly excited going into this album. But after actually listening to it, I was surprised by how much more quality and depth it had than I expected. And most of that came from the lesser known songs, not the big radio hits everyone associates with them. Once you get past the surface level stuff, ... read more

If you’re a fan of the Deftones and haven’t listened to this album yet, you definitely need to check it out. These guys come the closest in terms of overall vibe. That said, they still have their own unique sound and never come across as just a Deftones ripoff. This album is a pretty even combination of metalcore and shoegaze. Some parts are full of rage, aggression, and that raw metalcore energy, while others lean into dreamy, ethereal, and hazy textures. The production is also ... read more

This is one of the few Britpop albums I can honestly say I really enjoyed. For whatever reason, Britpop has never been a genre I’ve deeply connected with, because most of it just feels stale or watered down to me. Maybe it’s because I’m American and not tied to the cultural roots that shaped it.

But this album stands apart. It carries a noticeably darker atmosphere, almost like a blend of Britpop with remnants of 80s and early 90s indie alternative, along with that brooding ... read more

Wow! Talk about an underground gem from the ’80s. This was a great blend of post punk, 80s alternative, and new wave. Throughout the entire album, the post punk elements kept reminding me of Echo & the Bunnymen and Siouxsie and the Banshees. It definitely carries a strong gothic edge, but it’s not quite as dark or heavy as some of those bands, instead I’d probably label it as goth adjacent. There were several moments where Trevor Tanner’s vocals reminded me a lot of ... read more

When it comes to heavy psychedelic rock, these guys definitely do it best. Part 1, which came out the year before this release, leaned more into a garage rock sound, but this album takes a more exploratory and experimental approach. They really go to town with the dreamy, fuzzed out textures, and there’s a heavy use of reverb, swirling phaser effects, and a ton of spacey layers throughout. This album has so much to offer on every level, and it’s a great showcase of what modern psych ... read more

I think this is definitely one of Dream Theater’s better albums. They’ve always been a solid band across the board, but the last few albums before this one felt like they were slightly veering off path and experimenting a bit more, thankfully they never strayed too far. This album brings it all back together with some amazing heavy segments and really solid drumming. At the same time, it balances things out with some beautiful, chill melodic moments. And like always, I loved the ... read more

For a modern pop album, this was a good one, even if the lyrics are pretty typical and a bit sleazy. It’s a solid blend of indie pop and dance punk, and the whole thing is filled with catchy hooks from start to finish, which really keeps you locked in. There’s nothing particularly innovative or forward thinking about this album, but it works for what it is. Honestly, if more commercial pop music sounded like this, I’d probably enjoy it a lot more.

Wow, I was genuinely surprised by how good this album sounded. It was originally intended to be Scorpions’ final album as a farewell to their fans, and you can really tell they took their time with it. They put in serious effort and tapped back into the energy and spirit of their earlier days, something that had been missing for a few decades by this point.

Ironically, by finally making a solid album that resonated with longtime fans and even landed chart success, they ended up proving ... read more

This is one of those albums I definitely would’ve rated higher 25 years ago. That late 90s mix of trip hop, breakbeats, and big beat had a real edge at the time, and this was definitely one of the more interesting releases in that space. But these days, I’m just kind of burned out on that sound, it doesn’t hit the same way anymore. That said, it’s still a solid listen.

Well, musically it’s not a bad album when it comes to theatrical baroque pop, but I just don’t like Randy Newman or everything he represents.

This album definitely carries Dream Theater’s signature sound, but it leans heavier and darker than their usual style. Even with that shift in tone, it still turned out really good. There’s a solid mix of complex arrangements and a blend of shorter tracks with longer suits, all of which tie into the album’s overall theme.

I actually thought this one was better than their previous album, which leaned more into lush orchestration and heavy arrangements. This feels much more stripped down, with a brighter and lighter indie rock sound overall. The production is simpler, but in a way that brings more immediacy and warmth to the songs. It’s less grand, but more direct, which really worked for me.

Well, this album is a great example of what happens when record labels force a band to make music they don’t actually want to make. This album leans heavily into radio friendly, commercial glam metal, mainly due to pressure from the label. Over the years, the band has openly disowned this album, and it’s easy to hear why if you’re familiar with their earlier or later work.

That said, listening to it now almost 40 years later, I think it actually sounds better than a lot of ... read more

The Sonics are always a fun band to listen to when it comes to early aggressive garage rock from the 60s that borders on proto punk. They’ve got that raw, dirty, and unfiltered sound and production that feels way ahead of its time. You can definitely hear how this kind of energy laid the groundwork for punk and other aggressive styles that followed.

This was just a middle of the road, mediocre album for me. It pretty much falls under that indie country movement that artists like Bill Callahan and Bonnie “Prince” Billy are known for. So if you’re a fan of those guys, then you’ll probably enjoy this album more than I did.

They definitely went for a more lush and orchestral sound, with strong elements of chamber and baroque pop woven throughout. I also just learned that this album was produced by Dave Fridmann, who worked with Mercury Rev and The Flaming Lips, which makes total sense, because there were moments on this album that kept reminding me of The Flaming Lips.

This is a very fun album from the Cardiacs, and if you’re not familiar with them, this would be a great place to start. It’s not their quirkiest or most off the wall record, but for how frantic and constantly changing it is, it’s surprisingly cohesive. This album is always bouncing between aggression and playfulness. It never stays in one place for too long, and it fully embraces the chaos with euphoric melodies and memorable hooks all the way through.

I actually really enjoy this album, but it definitely veers away from the dark bluesy psychedelic rock the band was doing on their previous albums. This one leans more toward baroque pop, with keyboardist Ray Manzarek and producer Paul Rothchild pushing for a more orchestrated, refined sound. Jim Morrison’s contributions were less frequent due to personal struggles during the recording process.

At the time, Morrison’s alcoholism had become so severe, he was often late, intoxicated, ... read more

This album doesn’t really have the long improvisations that their earlier albums were known for. It’s still experimental, but the focus here shifts more toward hypnotic repetition and groove driven structures. Personally, I think this album played a huge role in laying the foundation for modern electronic and dance music, especially in how it uses repetition and creates trance like atmospheres through minimal changes. It’s one of those records that feels way ahead of its time.

Another amazing album from IQ’s 2010s era. This one is definitely in their top three. It’s a double disc, and overall, it leans darker than most of their other albums, but that works in its favor. The whole thing feels like it’s taking you on a dystopian journey from start to finish.