Today, we’re talking about To Be Kind, the 2014 double album from the legendary experimental rock band Swans. And, uh... yeah, this thing is a monster.

If you know anything about Swans, you know they don’t just make music—they craft these massive, punishing, transcendent experiences that demand complete submission. And To Be Kind? Easily one of the most visceral, mind-melting, and spiritually eviscerating records of the 2010s.

Michael Gira and company take the droning, ... read more

After a 20-year gap since their last studio record, Gaucho, Donald Fagen and Walter Becker returned to the studio and brought us this—an album that some fans hailed as a triumphant return, but does it live up to the reputation of their 70s classics like Aja or Can't Buy a Thrill? Or is this one of those cases where a legendary band’s return just doesn’t quite recapture the magic?

First things first, the production on Two Against Nature is clean—maybe a little too ... read more

This record comes after the massive success of Aja, which is still widely regarded as one of the greatest albums of all time. So the pressure was on for Steely Dan to follow up that magnum opus, and with Gaucho, they delivered something that’s both familiar and different—it’s sleek, it’s polished, it’s kind of melancholic, and it feels a bit more detached than their previous work. But does it live up to the hype? Is it as iconic as Aja?

irst off, we need to talk ... read more

It’s often considered their magnum opus—the moment when they perfected their already signature blend of jazz, rock, pop, and studio wizardry into something that would be practically untouchable for the rest of their career. There’s a reason Aja is often hailed as a classic. It’s complex, it’s meticulous, and—despite all of its precision—it flows with this effortless smoothness that only Steely Dan could pull off.

By 1977, Donald Fagen and Walter Becker ... read more

Now, by this point in their career, Steely Dan had already crafted a sound that was unmistakably their own—sophisticated, jazzy, smooth, and yet deceptively cynical. The Royal Scam is a continuation of that evolution, but with a sharper edge and a darker, more complex vibe. Gone is the breezy optimism of earlier albums—this one’s steeped in a sense of paranoia, existential dread, and a cynical look at the American Dream.

The album kicks off with “Kid Charlemagne,” ... read more

The fourth studio album from Steely Dan, released in 1975. This record marks a significant turning point for the band—not just in terms of their sound, but also in their approach to music production and the dynamics within the band itself.

At this point, Steely Dan had more or less fully embraced their signature style—jazz and rock fusion, but with an added layer of sophistication, subtlety, and... let’s just say, an air of detachment. Katy Lied has this air of calculated ... read more

If you’re familiar with Steely Dan’s work, you know that the band’s sound evolved in subtle but important ways with each album. And Pretzel Logic? It marks a pretty distinct shift from what came before it. Gone are some of the heavier jazz influences that defined Countdown to Ecstasy. Here, Steely Dan really starts to refine their sound into something sleeker, more polished, and—dare I say it—more accessible, while still maintaining that signature cynicism and ... read more

The second album from Steely Dan. This one came out in 1973, and it marks a very interesting point in the band’s career. It’s still rooted in rock and jazz fusion, but there’s a deeper level of sophistication here compared to their debut, Can't Buy a Thrill. The songwriting is tighter, the arrangements are more complex, and the overall mood feels even more… detached and dark.

When you think of Steely Dan, you think of jazzy sophistication, intricate musicianship, ... read more

Can't Buy a Thrill, the debut album from the legendary jazz-rock duo Steely Dan. Can't Buy a Thrill dropped in 1972, and let me tell you, this thing is a stone-cold classic, one that really set the stage for Steely Dan’s impeccable career. But is it the flawless masterpiece everyone remembers it as, or are there some cracks in the foundation?

Right off the bat, what really stands out about this record is the way Steely Dan merges smooth pop and rock with jazz undertones. ... read more

This project had some massive expectations riding on it after the success of his mixtape, LIVE.LOVE.A$AP, which dropped in 2011. That tape set the bar incredibly high with its lush, atmospheric production and Rocky’s effortlessly cool persona. But does LONG.LIVE.A$AP deliver on the hype?

Let’s start with the good. The title track LONG.LIVE.A$AP kicks off the record with a moody, anthemic tone that perfectly encapsulates the blend of swagger and introspection Rocky was known for at ... read more

Right off the bat, The Script feels like it’s trying to occupy that safe, inoffensive space where Coldplay meets OneRepublic. That’s fine if you want background music for a Starbucks, but as a creative statement, it’s painfully shallow.

The Man Who Can’t Be Moved. This is one of their biggest tracks, and I get it—it’s catchy, it’s emotional, it’s heartfelt. But the saccharine melodrama in the lyrics borders on parody. “If one day you wake ... read more

Coming fresh off the breakup of The Smiths, this record was a major moment. Fans were wondering if Morrissey could stand on his own without Johnny Marr’s jangly guitar wizardry and if this new chapter would live up to the towering legacy of his former band.

Let’s acknowledge the obvious—Morrissey’s voice and lyrical style are as unmistakable as ever. That melodramatic croon, the cheeky wit, the existential angst—it’s all here. But Viva Hate also feels like ... read more

The 2011 debut album from Foster the People—a record that took the indie-pop world by storm, mostly thanks to Pumped Up Kicks

Now, this album definitely has its fans, but let me just say it outright: I’m not one of them.

Torches is a record that feels like a product of its time—and not in a good way. It’s drenched in shiny, overproduced electro-pop that tries to be quirky but lands closer to being a Spotify commercial. The hooks are undeniably catchy, but the more you ... read more

Strangeways, Here We Come, the final album from The Smiths. Released in 1987, this record has an almost mythical status. It’s the swan song of one of the most influential bands of the ‘80s, recorded as the group was crumbling under tension.

First off, Strangeways feels different. There’s a richness to the production that sets it apart from the band’s earlier work. It’s not as raw or jangly; it’s more polished, more layered, and a bit more experimental. Some ... read more

One of the most iconic albums in indie rock history: The Queen Is Dead, The Smiths’ 1986 masterpiece. This record isn’t just a fan favorite—it’s the definitive moment when Morrissey, Johnny Marr, and the gang took their jangly, melancholy sound and elevated it to pure art.

From the opening seconds of The Queen Is Dead (the track), you can feel this record means business. That thunderous drum intro, the driving bassline, and Marr’s swirling guitar textures create ... read more

Meat Is Murder, the sophomore album from The Smiths. Dropped in 1985, this is the record where Morrissey, Johnny Marr, and the gang took their jangly, melancholic sound and added a bigger dose of moral outrage. It's polarizing, it's passionate, and it’s a wild ride through activism, adolescence, and existential dread.

This is The Smiths’ most overtly political record. Morrissey isn’t just sad about unrequited love anymore; he’s mad about animal rights, ... read more

This album feels like a manifesto. From the jangly guitars of Johnny Marr to Morrissey’s trademark croon, The Smiths is dripping with personality. The band wastes no time carving out their niche as the melancholic yet sharp-witted kids at the back of the room.

Let’s kick it off with the opener, Reel Around the Fountain. It’s a slow burn—almost dreamy—but there’s this underlying tension that keeps you hooked. Morrissey’s delivery is both tender and a ... read more

Radiohead’s seventh studio album, the record that cemented their position as musical auteurs and masters of reinvention. Released in 2007, the album is infamous not just for its “pay-what-you-want” release strategy but for being, well… an absolute masterpiece. Spoiler alert: I love this thing.

Right out the gate, In Rainbows doesn’t feel like a sequel to OK Computer or Kid A. It’s a record that strips back the grandiosity and experimental coldness of those ... read more

Perfect album in the background while smoking a blunt

I forgot this even exist