This was a very unique album, and unfortunately it was the only solo album he ever released before dying of Hodgkin’s lymphoma in late 1967 at the age of 24. This record feels like a precursor to what would later be known as acid folk and psychedelic folk. He blends traditional folk structures with psychedelic and world music, which really come through in the percussion.

At times, the pastoral folk sound even made me think he might’ve been a UK artist, but he was actually rooted in ... read more

This album was amazing! So much that I ended up listening to it three or four times in a row. Considering this was their first album in over 19 years, I think they did an incredible job handling it with real merit and depth. It feels like a genuine continuation and evolution of their catalog, rather than taking the easy nostalgic route and trying to recreate what they were doing 50 years ago.

They also didn’t lose their identity while creating an album that has a more contemporary, ... read more

I’m not really familiar with The Avett Brothers, but this is a collaboration between them and Mike Patton. The album is mostly rooted in Americana and folk, but it has a slight experimental edge running through it. Overall, the album had its ups and downs, with some parts feeling pretty mediocre, while other moments were genuinely enjoyable.

This is a rare, collector’s cult favorite from Garrett Lund, who had previously been part of bands in the 60s. This album was released in 1975 and originally issued independently after being turned down by multiple labels. Even though it came out in 75, it really feels like spillover from the 60s. It shows what psychedelic music might have sounded like if it had continued evolving straight through the decade. There’s a slight 70s rock edge to it, but it still carries strong ... read more

It still blows my mind that this band started out as a Norwegian black metal band, and if that’s the side of Ulver you prefer, you might not be too into this album. Personally, I loved it. The best way I can describe it is IDM infused ambient music paired with the cinematic, expansive soundscapes of post rock.

I actually really enjoyed this one from Steven Wilson. This album shifts away from his more traditional prog rock sound and leans more toward progressive art pop and electronic pop. There are a few sporadic moments of live drumming, but the music is very much driven by drum machines and electronic instrumentation.

Steven Wilson is already well known for his production and studio mixing work for other artists, but this album really highlights his abilities as a cutting edge producer and sound ... read more

Another great underground hard rock album from the early 70s. It carries a strong psychedelic edge along with a bit of progressive rock experimentation. The use of early Moog synthesizer and swirling organ work gives the album a slightly futuristic, spacey feel that sets it apart from more straightforward hard rock of it’s time.

Here’s a cool, obscure album from the early 70s. It works really well as a bridge between the late 60s psychedelic era and the rise of 70s hard rock and early metal. This album blends blues rock, psychedelic rock, and early proto-metal in a way that feels natural, and capturing a moment when the musical landscape was clearly shifting from one era into another.

This was a fun new discovery, especially since I’m always on the lookout for solid 80s progressive power metal. If you like bands such as Savatage, Crimson Glory, Queensrÿche, or early Fates Warning, this comes from that same ecosystem and musical landscape. Overall, it’s a really fun and enjoyable album that fits comfortably within that scene.

Nice, pastoral, and earthy 60s folk and psychedelic rock. I can’t say I got really into it, but I can appreciate it for what it is. It definitely explores a range of different textures and moods, and because of that it didn’t always feel as cohesive as it could have been. That said, I do have to give it credit for the studio work, mixing, and production, which sound pretty clear and crisp for its time.

Video Killed the Radio Star always made me think of The Buggles as a bubblegum flavored new wave act, but after listening to this album, they’re much more than that. Every song on here outside of Video Killed the Radio Star comes across as ambitious art pop that flirts with progressive rock. It actually puts them closer to late 70s Yes, Alan Parsons Project, or even 10cc.

This was a pretty solid prog metal album from the late ’90s. I honestly think it’s better than a lot of the material Savatage put out in the early to mid ’90s. That said, the acoustic tracks at the end of the album were way too sappy and boring for me, but I don’t think those were part of the original pressing.

So apparently this is what’s called electro-tango. It blends traditional tango elements with electronic production, hip hop influenced beats, and ambient textures. This album is very much a product of its time, having been released in the early 2000s, when there was a strong trend of downtempo producers mixing electronic music with jazz or traditional styles from different cultures around the world.

When it comes to fun, quirky, and off-kilter new wave, Lene Lovich has become one of my favorites. This album definitely delivers on that front, because she’s easily one of the queens of playful, eccentric new wave.

Chicago is one of those bands I’ve known by name since childhood. One of my friend’s mom used to say she didn’t like country music, or most rock bands that leaned in that direction, but she always claimed Chicago was one of the few bands with a “country twang” she could tolerate. Because of that, I never really paid attention to Chicago growing up, since it made me assume they probably just sucked.

Now, over 30 years later, listening to this album, I honestly have ... read more

I’m pretty new to Matt Berry, and this is the first album I’ve heard from him, but after listening to this one I’m definitely going to check out more of his discography. I really enjoyed this album. He does a great job of embracing retro and vintage textures and influences, but with modern day production clarity and sensibilities. The vintage pop songwriting is what really hooked me, and the whole album feels like pure ear candy.

I thought this was a really interesting collage of different sounds. It’s listed as an indie album, but to me it honestly feels closer to IDM-leaning hip-hop mixed with strong post-punk and indie rock influences. Either way, it’s a great experimental record that’s genuinely hard to pin down.

Just some good old heartwarming Southern rock and blues rock from the late ’70s. This album doesn’t really do anything new that hadn’t already been done, and if anything, that’s probably why they remained a local band and never broke into the mainstream. By that point, this style of music had already been fully established earlier in the decade by bands like Lynyrd Skynyrd. It’s still a decent album and easy to jam along with, but I doubt I’ll ever find ... read more

This is the kind of album I usually have to be in the right mood for. I can’t say I’m over the top about it, but it definitely wasn’t bad either. It sits right on the border between Americana, folk, and slowcore. What really stands out is the ambience, and the way the album uses acoustic room space and microphone placement as part of the production itself, giving it that dreamy, haunting atmosphere that surrounds the entire record.

This was an album that stayed mostly underground within its local rock scene, but over the decades it’s been rediscovered and reissued. Because of that, it’s become a rare, cult favorite hard rock album from the late 70s. It really captures a transitional moment where hard rock was starting to absorb progressive and psychedelic influences while still holding onto the core energy of classic rock.

There’s definitely that hard rock macho energy throughout, like the kind ... read more