Punky, dirty, bluesy southern rock. When Booker puts his foot on the gas, his arrangements certainly fly. However, where this album struggles a bit is in its' slower moments. Emotional depth is lacking, and while Booker's hoarse cry can carry a ballad, he's at his best vocally when barking over a soaring organ.

Just weird as hell, twangy, corny early Beck. Eclectic as his other early projects may be, this album is the culmination of this era of Beck. It is all over the place in the best way possible.

A slick industrial/alt metal record with a handful of standout tracks and a fair amount of bloat. If you can stay focused for 11 tracks of more or less the same overproduced Nine Inch Nails song, you're golden. Criticism aside, this is a collection of pretty solid heavy music that's worth seeking out.

Not a single song the same, not a single song out of place. Spoon flexes their stylistic muscles here, to great affect.

An absolute minefield of a tracklist. Some of the most maturely written music about being a 20-something in NYC is unfortunately paired with the dogshit songwriting of It Gets Better or whatever the hell Stars is. I will stand by this album and will die on the hill that it contains some of the finest pop ever written, but as a whole I simply cannot recommend this album. All Alone, One Foot and the big radio hits deserve much, much better company.

I don't think I'm enough of a Millennial to fully understand the masterpiece of this one, but I still had a good time with Veckatimest. Baroque, dark, airy and twisty. The drum groove for Two Weeks is so intelligently busy yet technically simple it blows my mind every time

Nothing but no-frills 2000's britpop with a little edge. Excellently themed physical release. There were points on this record where I could've sworn that I was transported to an alternate dimension where Elvis Costello fronted The Clash, for better or worse.

A thematically weaker, sonically more eclectic outing than The Big Death Cab For Cutie Album That Came Out After This One, but still incredibly solid. You can feel that Death Cab is on the verge of a commercial breakthrough throughout this record, and while it will take another album (or two) to reach their peak numbers-wise, that doesn't mean they're not starting to gather steam with this one.

Nothing but good, heavy, stank-face-inducing riffs, blown up larger than life by producer Ed Stasium and covered in so much 80's gloss you can see your own reflection. Cult of Personality has been covered to death, but it deserves to be acknowledged nonetheless. Bonus points times a million for having a fucking THEME SONG, that's radical

A triumph in alt-country songwriting, world building and structure. Brilliantly crafted portraits of the misfits you know from back home if you're from a certain part of God's country backed by twang, fuzz, and laid-back, meandering-yet-laser-focused arrangements. A project of this magnitude has been a long time coming for Lenderman, and the slacker-country-crown is his for the taking.

A relatively accessible math rock album following up the massively underrated "Menos el Oso", Planet of Ice is packed with smooth, prog-tinged indie that grooves, noodles, and jams effortlessly.

There's no praise I could write for this album that it hasn't already received. The blueprint for the quiet-LOUD-quiet, not-grunge-but-not-exactly-not-not-grunge style the Pumpkins and others will eventually run into the ground. Some of the most punishing guitar solos ever put to wax live on this album, and not a single track drags despite a good number of them lasting well over 5 minutes. If you're reading this, you already know how good this album is, I'm just writing this ... read more

Flashes of Bob both vocally and narratively and a killer lead track is not enough to carry this roots-tinged 90's rock record to heights any greater than rock solid. While there's no truly bad cuts to be found here, (one could argue against the songwriting of God Don't Make Lonely Girls, and I do) there's also really one standout - the previously mentioned radio hit One Headlight. Everything else is an enjoyable listen, but it's easy to lose this album in the wash of ... read more

Do you like Milo and the boys? You'll like this. It's business as usual for the geeky progenitors of pop-punk with the band not straying too far outside of their energetic and earnest style that eventually became the foundation of the soundtrack of the 90's. Unluckily for them, it is 2016. Or, in my case, 2025, and the simplistic pop-punk that once was so fresh and exciting gets stale without any novelty in arrangements or songwriting. This is still an incredibly solid punk ... read more

What happens when you say a band has no frontman but there's clearly a creative hierarchy? You get a bag as mixed as Ro Sham Bo. Bellion and Falkner's tracks soar, while none of Judge's come close to getting off the ground. This record meanders around a lot of the sounds of the 90's, and when it finds' its' footing it's a neat little 90's college radio album, but when it can't it is unfortunately bland. There is a lot of good to be found here, and is ... read more

Half a mediocre Better Than Ezra album, half Radiohead B-sides. Eclectic as hell, experimental at times, and sonically all over the place., sometimes to good effect but mostly to bad. The highs are high, but the lows are pretty damn low.

A slightly repetitive and incredibly of its' time bag of emo-pop tricks. Drags at the end with 2 very-2003 half-slow, half-uptempo songs about hate (complete with children's choir), and a weakly written, sparsely arranged title track that eventually makes something of itself but takes too long to get there. Sugary sweet and earnest. Gets grating listening straight down but is inoffensive in small doses.