Average Rating: 3.29 Rating Variance: 0.79 Objectivity Score: 87% (Well Balanced)
Sort by: Rating | Release Date | Rating Date | Name5.0 classicOasis Definitely MaybeFrom the opening chords of "Rock 'n' Roll Star" to the final flourish of "Married with Children" this album rocks and rolls and is a hell of a lot of fun to listen to. Half the songs here are relatively fast-paced and upbeat, with "Bring It On Down" brushing up against punk. "Columbia" is heavy but trippy and proud of the fact. From the nonsense lyrics of "Supersonic" and "Digsy's Dinner" to the earnestness of "Live Forever", this album has it all. Grand and grandiose, a celebration of rock 'n' roll, drugs, and the Mancunian work ethic.The Servant The ServantThe Sounds Dying to Say This to YouThis album's got zazz and flow, establishing itself in the first two seconds of cowbell on "Song with a Mission", building up through immaculate "Tony the Beat", and riding high til the very end. Only the slow but still quality "Night After Night" interrupts the album's flow, but it's for good reason. Here's a CD to play loud and proud and blare with the windows down. Top marks all around.The Zombies Odessey and OracleThe closest a pop album can come to perfection. Finely-crafted hooks and melodies, excellent harmonizing, interesting lyrical ideas (a pop song about the horrors of war? a pop song reversing the gender roles in a story about one's baby getting out of jail?), and top-notch musicianship all around. Eat your heart out Paul McCartney.Weezer WeezerNow this is rock music. It's loud, stupid, silly, free from pretentions with nothing to prove, and you can tell the guys are having fun. Always a good listen.4.5 superbPulp Different ClassPop music with teeth, this album offers scathing social commentary with vivid portrayals of class differences and catchy choruses and beats. Emphasis on the sordid lives and relational quirks of upper and lower castes makes this a highly engaging portrait of 90s British culture. Perhaps the best of Britpop.Sex Pistols Never Mind the Bollocks, Here's the Sex PistolsThis is some powerful stuff. Other great albums came about the same year (Iggy Pop's The Idiot and Lust for Life, David Bowie's Low and "Heroes", and new albums by The Clash, Judas Priest, The Ramones, etc.) but none bore the same animosity and resentment towards tradition, authority, consumerism, the music industry, and so on. Put this record on today and you can still feel its rebelliousness, even if its incendiary legacy stands taller than its social influence. The Sex Pistols weren't as loud or shocking as certain later (or contemporary) acts, but they were a combination of raw and emotional and critical of society in a way that few have since been able to match.Shiina Ringo Kalk Samen Kuri no HanaTaking her music in a new direction, Ringo Sheena gives us an alternative album that's more orchestrated and better produced than her previous two works (which is a feat, considering she produced it herself for the first time with cheap equipment). The songs are part traditional, part rock, part jazz, part pop, and all awesome, with more of an emphasis on composition in lieu of pure performance. This results in an album that's hauntingly well-crafted and resonant, perhaps her biggest production to date.Slow Motion Centerfold Rock the Body LanguageThe Rolling Stones Sticky FingersMore rollicking than its two predecessors, Sticky Fingers mixes classic Stones rock 'n' roll with old timey homages and a touch of experimenting in other styles. Of the hits, "Brown Sugar" works as an example of the former and "Can't You Hear Me Knocking?" works as the latter; it is a phenomenal track, although its magic doesn't really begin until the 2:50 mark. "Wild Horses" is a decent country ballad. But it's the quality and earnestness of the deeper cuts that make the album, particularly "Sister Morphine", "Dead Flowers", and "Moonlight Mile".The Seatbelts VitaminlessThe Seatbelts BlueWilco Yankee Hotel FoxtrotA concept album on the difficulties of communication in relationships, the album plays out with emotion in deliberately deconstructed pop songs—made all the better because these boys know how to write a damn good pop song. Very enjoyable.4.0 excellentNew Politics New PoliticsYou'd have to think that an album this hamfisted, this caffeinated, this allusory, and this conscious in its awareness of genre (and band-specific) tropes represents irony in the truest sense of the word. For there is certainly a double audience: those who take this mindnumbingly dumb rock at face value, and those who recognize that—in their treatment of it—New Politics openly derides the very influences they imitate and mocks the commercialization of the alternative sound. Or maybe they're dead serious. I know which explanation I prefer.Oasis The MasterplanBest of the B-Sides plays like a full-fledged album in itself, with tracks 1-3, 11, 12, and 14 all being strong enough to have been singles. Only the live cover of "I Am the Walrus" throws things off a bit, but the album's course is quickly set right again. I consider this a righteous album that stands alongside Oasis' first three with impunity. It caps off their youthful Britpop era, and signals the start of their latter standard alt rock era.Shiina Ringo Shouso StripFrom the lo-fi bass and guitar riff intro of opener "Kyogen-sho", you know this is going to be a good alt. rock record like Ms. Ringo's debut, Muzai Moratorium. What you don't know is just how good it actually is; the "typical" Jpop power pop and soporific karaoke ballads are gone (the closest she comes is on her singles "Gips" and "Tsuki ni Makeinu", which still rock hard enough to stand out), and instead we get Shiina's wailing, driving, melodic hard rock ditties blended with elements from jazz (hear the rhythm and melody of single "Honno") and queer electronic flourishes tastefully thrown into the mix (see track two, "Yokoshitsu"). This is a great album.Shiina Ringo Sanmon GossipOn her fourth studio album, Ringo Sheena delves deeper into her jazz roots. Heavy electric guitar and distorted bass and raw unprocessed vocals are replaced here by piano and sweeping strings and gentle crooning, with a couple big band arrangements that could sit unobtrusively in the middle of a Fred Astaire musical. This is NOT her usual modus operandi, but it sounds warm and active and complete and well-arranged all the same. She knows what she's doing, and she does it well.Shiina Ringo Hi Izuru TokoroCertainly her most "pop" solo release, Hi Izuru Tokoro is melodic and catchy, with Ringo's usual flair for the dramatic shining through on big arrangements with sharp hooks and high climaxes. Six of these songs were previously released as singles (a few as TV theme songs and "Nippon" as the official song for NHK soccer broadcasts), and Ringo seemingly went to great pains to bring the rest of the album up to this high standard. "Irohanihoheto" is a definite highlight, although every song is strong enough to stand on its own ("Carnation" being the only one I'm not too keen on). The overall production sounds a bit weird, but it doesn't detract from the quality of the music.Shiina Ringo Muzai MoratoriumThe Rolling Stones Beggars BanquetClassic country blues/roots rock album. "Sympathy for the Devil" deserves its hype, as does the other radio classic "Street Fighting Man", though they both differ from the rest of the album in style. Every song here is illustrative and insightful, remaining truthful to the old musical styles the Stones emulate, and they all rock and roll just as you'd expect. And "Salt of the Earth" is one hell of a closer. This album is easy and fun and sounds warmly of the dog days of summer.The Rolling Stones Let It Bleed"Gimme Shelter" is four and a half minutes of pure perfection, foreboding and rocking and soulful and absolutely brilliant. "You Can't Always Get What You Want" is another staple of classic rock radio and is, thus, overplayed; its direct message and gradual arrangement never really struck a chord with me, but I can see its worth. Tracks 2-8 continue the country blues experiment begun on Beggars' Banquet in fine fashion, with each song (including a more honky-tonk re-working of old hit "Honky-Tonk Woman") rife with emotion and authenticity.The Seatbelts No DiscThe Seatbelts Ask DNAThe Servant With the InvisibleThe Servant MathematicsThe Sounds Living in AmericaI tell ya, those Swedes know how to write a hook! Fun and fiery, their approach melds guitar rock with synthpop, performed with strong punk rock sensibilities. They know they're outsiders and don't give a damn ("We're not living in America, and we're not sorry!"). This thing ain't perfect but it's close.The White Stripes ElephantGreat lo-fi guitar rock in various styles with teriffic energy. Jack White brings his A-game, producing one of his best albums.3.5 greatBeck Sea ChangeMellow and atmospheric, Sea Change represent's Beck's depression and loneliness following a break-up. The songs are all downbeat and, while there are a handful of inspired lines, every song aches with simplicity and his personal hurt. Sonically, you can hear his usual folk roots (many songs compare to Gordon Lightfoot's "Beautiful", e.g.) with strong similarities to Radiohead's more melancholic tunes. Takes a few listens to get into, especially if you're not in the right state of mind, but when you do get it it's pretty good.Beck Modern GuiltMaybe Beck's most accessible album. It doesn't hit 34 minutes, but it's got density in songcraft and lyric wit. Pay attention to the angst and unease hidden behind relatively fast-paced tempos, and catchy, upbeat riffs. For example, "Chemtrails" sports a brooding, contemplative atmosphere that continues even as frenetic drumming and a rapid-fire bassline try to assume control of the song, and "Modern Guilt" employs a classic rock'n'roll beat with jangly guitar lick in a song about feeling alienation in and from the modern world. A very solid album.Dire Straits Sultans of Swing: The Very Best OfIggy Pop The IdiotSounding very much like a David Bowie album (for obvious reasons), this album delivers funky nigh-mechanical beats and bass with synthesizers and subdued electric guitars and lo-fi vocals, all at a mid-tempo pace. There's a revolutionary spirit in its simplicity, with "Sister Midnight" setting the tone, that is bolstered by driving, hypnotic beats and easy melodies. It's all blasé, ironic, post-modern, and hip in a new wave kind of way.New Order (the best of) New OrderOasis Dig Out Your SoulHard-hitting and driving and actually pretty good. This album caps off a career littered with aces and bogeys with a psychedelic swirl; tracks 1-3 rock pretty hard, "The Shock of the Lightning" sounds like a Foo Fighters clone, and "Ain't Got Nothin'" and "The Nature of Reality" are low-hanging bollocks, leaving "Soldier On" an underwhelming finale. "Falling Down" is the highest point, and it's damn good. Overall: enjoyable. These days I'll take this over What's the Story.Oasis (What's the Story) Morning Glory?Oasis' lone foray away into pure pop rock treats us to such overplayed radio hits as "Roll with It", "Wonderwall", "Don't Look Back in Anger" (perhaps the single best pop song of the past two decades), "Some Might Say", and "Champagne Supernova". Only "Morning Glory" and "Hello" are wailing, rollicking hard rock numbers, and the rest does tend towards blandness over time. But it is a great album, no denying that.Red Hot Chili Peppers Greatest HitsA suitable collection for casual fans of the band. Whether this is truly their "greatest" material I don't know, but it's got many of the most recognizeable radio hits from the 90s and early 00s (their commercial golden age). On first play I'd only heard half of these songs before, but the others are mostly okay (with "Parallel Universe" an obvious standout). As someone who's tried and failed to get into their LPs, I can say I'm satisfied with this record.Shiny Toy Guns We Are PilotsTaylor Swift RedI enjoy a lot of songs on this album (and yes, it is a pop album). Tracks 1-4 are a great way to start, 5 is only a light misstep, and 6 isn't bad. Then you get into filler and boring ballads with only "Holy Ground" (my fav), "The Lucky One", and "Starlight" worth their salt. Only "We Are Never Ever Getting Back Together" stands out as a must-skip.The Seatbelts Cowboy BebopGreat jazz numbers, a couple great country (REAL old-timey country) numbers, and a couple weirdies. It's a fun listen once in a while, though it does verge on taxing. Overhyped by the fanboys, it still ain't bad.The Seatbelts Future BluesThe Verve Urban HymnsMagnanimously macro. "Bittersweet Symphony" is insufferable, but the rest of the album is thankfully much better. You've gotta be in the right state of mind to fully appreciate this album—lest its sentiments fall on deaf ears—but when you're primed it is on-point. Cheers!U2 All That You Can't Leave BehindSeven good to great tracks followed by four forgettable ones. "In a Little While" and "Wild Honey" are my favorite of all U2's songs (perhaps because they eschew the enormity of Peace, Love, and God in favor of a simpler kind of love; and they're catchy!). Ocasionally I do venture into "Peace on Earth" and "When I Look at the World"—which aren't bad but don't really stand out—but "New York" is always a stopping point. 3.0 goodMark Ronson Here Comes The FuzzHere comes the fuzz! What's the fuzz? I don't know, but here it comes! This album is pretty good party music; lots of groovy hip-hop, breakbeats ("I Suck"), funk ("She's Got Me"), and even house ("High"). All slickly-produced. Props to Mark "The Fuzz?" Ronson.Natalie Imbruglia Left of the MiddleOasis Be Here NowLong and deliberate and heavy-handed, this hour-long tribute to self-indulgence is best enjoyed on long car rides or lazy afternoons or those damned persistent depressions when its duration isn't a factor. It is bloated and overdubbed to hell, but beneath the many, many layers of guitar noise you'll find some decent tunes, only a couple of which sag at times, and an uplifting spirit. And who can argue against some decent tunes and an uplifting sprit?!Radiohead The BendsThere is greatness here; I can feel it. The first three tracks are solidly engaging and provocative. "Fake Plastic Trees" starts to drag a bit for me, but I can still appreciate its artistry. Everything after "Just" just blurs together and without fail I find myself growing bored (*gasp*). There are some beautiful melodies and great lyrics, but it's not enough to keep me listening. Half the album doesn't strike my fancy, but the other half does so spectacularly.Smash Mouth Astro LoungeThe singles (All Star, Then the Morning Comes, Come On Come On, and Can't Get Enough of you, Baby) were overplayed in their day and make for great nostalgia tracks. The rest, surprisingly, ain't bad. Opener "Who's There" is a goofy alien-themed rocker, "Radio" is decently pop punk, "Defeat You" is softly defiant, and others sport retro lounge, ska, and reggae vibes. The overall feel is that of a carefree 90s summer pop-rock record. Fun, but no ground (old or new) is broken here.Sneaker Pimps Becoming XTrip-hop's a funny creature; mellow electronic notes sustained over mid-tempo beats, big bass, ambient pads, and the feel of laying about in a drug-induced stupor. Sneaker Pimps throw in a great vocalist whose personality is at once defiant but playful, lending a special something to the music. Many tracks here verge on pop (their big hit "6 Underground", "Post Modern Sleaze", "Roll On", etc.) but in a good way. This is a great soundtrack for depressions, hangovers, and rainy days.Taylor Swift Speak NowA mixed bag. Taylor starts off pure pop, then flavors it with just a tinge of country. By the midway point she goes crazy with different sounds, including synths backing the intro and chorus of "The Story of Us", a hard rock (j-rock?) number in "Better than Revenge", an alt/indie experimental in "Innocent", and 90s-era synth driven "Haunted". Too long and too force-filled with slow sentimental ballads I can't get into.The Offspring Greatest HitsIt's a very short album with all the radio hits you know and love and a handful you may have forgotten. In the decade since publication, The Offspring have produced only one other song that might merit inclusion on a Greatest Hits comp., which makes this nigh definitive. Everything's fast and catchy and powerful pop punk, and except for a couple tracks ("Pretty Fly..." and "Why Don't You Get a Job?") the songs all sound very similar. Not the greatest repertoire, but hey, it is what it is.The Pretty Reckless Light Me UpA good modern hard rock album. The trouble with this genre is tapping into the raucousness that it's built upon, and The Pretty Reckless so very nearly succeed. Several songs do it right: see tracks 1-4, "Goin' Down", and "Factory Girl". As a ballad, "You" is pretty nice too. But too many songs are too tame or forgettable for this to earn top marks (and is it just me, or does "Just Tonight" bear a striking resemblance to Kelly Clarkson's "Behind These Hazel Eyes"?)The Pretty Reckless Going to HellSeems The Pretty Reckless have grown some, and are finally learning how to be immature. Sex and sin pervade the first few tracks and creep into a couple others (hear the awesomely inglorious "Sweet Things"), but it sounds like Taylor wants so badly to be bad that she accidentally lets slip that she isn't, which spoils her facade. "Dear Sister", however brief, is more so a revelation than an interlude. "Blame Me" and "Burn" are inadvertent highlights. I can't bring myself to call this great. And calling it a guilty pleasure is only a little sin.The Raconteurs Consolers of the LonelyI'm divided on this album. On first listen I liked it. Second listen I hated it. Third, I loved it. Et cetera. The Raconteurs touch upon myriad styles of rock music: blues rock, punk rock, pop rock, folk rock, indie rock, southern rock, and even a smack of arena/glam rock. That the band has the chops to pull most of these off convincingly is telling of their skills. That several songs don't seem to sit well in the mix (and, therein, their disparate parts don't always fit together quite right) is telling of the band overreaching their ambitions. Did they jam and gel after these were written? Did they intentionally muck their production to try to make everything appear as though it belonged? I hear too many cooks in the kitchen, and depending on which morsels of the finished product you happen to get, you may find the flavor either enticing or repugnant. The Rolling Stones Exile on Main St.I don't know what it is about this album that makes me like it less than the Stone's previous three gems. Maybe it's the double-LP's length (just over an hour), maybe it's its inconsistency, maybe it's hearing the same old timey country blues and rock 'n' roll again with less luster. Don't get me wrong, some tracks here are very good. But some of them aren't; songs like "Rip This Joint" and "Shake Your Hips" and "Turd on the Run" are built on a riff and a roll and don't go anywhere, and "Tumbling Dice" and "Happy" are upbeat but lack the energy to make me get up and move. In all the album is laid-back and warm without the novelty or excitement of Beggars' Banquet, nor the levity or irony of Let It Bleed, nor the gravity or zazz of Sticky Fingers. But it's still a good album; there is a time and place for every "good" album, and for me it's while taking long drives on those lazy, hot midsummer afternoons. I just can't feel the vibes most other times. The Sounds Something to Die ForThis album is pretty good. Sure, the Sounds are now pure pop, and their arrangements sounds more at home in the dance club than the rock venue, but is this so bad? Well, when "we conquer our planet with dance!" is one of the first substantial lyrics, you can't help but harbor doubts. To this I say meh; the band's moved on and the sound's changed, but the beats and melodies are just as sick as ever.The Strokes Is This ItI passed over these guys in their heyday as nobody I knew was into them. Over a decade later I saw the reviews and the hype and I bought into it. This album is solid. It's upbeat and a decent listen, if a bit plain. It's good but my breath remains un-taken away.U2 Achtung BabyBlend the vibes of post-punk and themes of arena rock and push it back a decade past the prime of each and you get Achtung Baby. It has its moments—tracks 1-5 mostly, and the radio staple "Mysterious Ways"—which ring loud and proud, but the latter half of the album isn't half as powerful (though it pretends it is). It's a good album and one of U2's best, but I don't and can't feel strongly enough about it to echo others' praises.Weezer The Red AlbumNot being a Weezer purist, I find this album to be pretty enjoyable pop rock. "TGMWEL" and "Pork and Beans" are highlights, and tracks 6-9 are all spirited and catchy in their own way. Skip "Heart Songs", hit eject on track 11 if not in the mood. Lyrics? Stupid. But ain't that what pop is supposed to be?2.5 averageBetter Than Ezra Friction, BabyPretty standard post-grunge, and average output for these guys. A couple tracks have odd little things in their favor: the bubbly little chorus of "Long Lost", the bass riff in the verse of "Return of the Post Moderns", and the wahwah lead guitar lick and southern rock feel of "Still Life with Cooley". Instrumental closer "At Ch. Dugaulle, etc." is actually very good and leaves things on a high note.Dan Black ((Un))This is definitely THE Dan Black, creative genius behind The Servant. He's taken a new direction here, and I'm not sure where he's headed; his solo stuff here is all modern pop, trying to break into the mainstream, and he seems to focus more on sleek production and big arrangements than the subdued tracks and subtle effects of yesteryore. For the most part his choruses, curiously, aren't as catchy, and his music isn't as memorable. Though I do dig "Pump My Pumps" and "Wonder".Def Leppard PyromaniaThis is supposed to be hair metal at its best, yeah? I find the pace too sluggish, the production too poorly-done, and the songs too bland and monotonous. There's a few good hooks here, if you're willing to slog through the dreck.Dire Straits Dire StraitsLots of repetition, and apart from the brilliant "Sultans of Swing" and it's doppelganger "Down to the Waterline", the rest is pretty dull.Dire Straits Brothers in ArmsI so badly wanted to like this album. The first three tracks are classic rock radio staples, but it loses my attention somewhere in the middle of "Your Latest Trick". Maybe one day I'll be old and sophisticated enough for this CD to mean something, but for now my taste must be too inchoate to accept its impression.Journey Greatest HitsSo you think you like Journey. You hear their massive radio singles day in and day out, and you've developed a soft spot for "Don't Stop Believin'". You know they're what you're looking for in a classic rock band, so you go out and buy this album, only to realize that you're only really partial to a couple of their big hits and don't find the rest too mind-blowing. Now you're torn; do you bother keeping this album?rIf YES, turn to page 1988. If NO, turn to page 2014.Kongos Lunatic"Come with Me Now" was fun til the radio killed it. "Hey I Don't Know" is fun as well, same with "I'm Only Joking". The rest of the album is take-it-or-leave-it, and more often than not I leave it.Mark Ronson Record CollectionApparently "Bang Bang Bang" was a hit. Who knew?rTracks 3-5 are great, as are the four instrumentals and "Record Collection" (kudos, Simon Le Bon!). The rest is tolerable but meh.Mark Ronson VersionInteresting cover album. The style's a funk/jazz fusion with some RnB influences, which makes for refreshing takes on some tunes and sludgy missteps on others, though nothing stands out as remarkably good or bad. Maybe it's just not my cup of tea. Rarely can I listen to this all the way through.New Politics A Bad Girl in HarlemSavage Garden Savage GardenNo album better epitomizes the sound of 90s pop than this. Simple, clean, and calculated, every song sounds like it could have been a radio hit. However, don't mistake "radio hit" with "good song"— after the stellar pop hits of tracks 1-3 the album descends into banality. "Tears of Pearls" is good. "Universe" is not. "Break Me Shake Me" is relatively intense but can't seem to resolve. Among the rest, only "Violet" stands out as a super fun, quality (though silly) song. Average album.Savage Garden AffirmationSomehow Savage Garden have taken generic and amplified it to bigger and broader proportions. There is nothing groundbreaking here, and almost every song is either a slow sappy pop ballad or a saccharine piece of feel-goodery. Still, "Chained to You" strikes my fancy, and the ubiquitous (at the time) "Crash and Burn" refuses to pull its hooks out. Other tunes do make this album worth listening to, if for no other reason than background music. The Pretty Reckless Hit Me Like A ManThe two live tracks sound okay but don't have the energy or enthusiasm I'd hoped (and Taylor Momsen's posturing to the audience after each inspires neither lust nor admiration). The other three tracks suffer the same faults, less the talking to the crowd. I like this EP 'cos it's short and just loud enough to give me my daily dose of Noise, but it's nothing to write home about.The Rifles Great EscapeThe Servant How to Destroy a RelationshipThe Sounds Crossing the RubiconThe Sounds took their silly little synthpop/dance-rock and gave them the Big Room Pop treatment. The hooks are still there and the lyrics goofy, but the fun is diminished and the punk attitude completely gone ("4 Songs & a Fight" and "Underground" are mere self-parody). "Midnight Sun" is perhaps the greatest song they've ever done, but nothing else here truly stands out. The album's got a strange taste that takes some getting used to.2.0 poorDef Leppard HysteriaResponding the success of Pyromania Def Leppard manage to turn in an hour-long hodgepodge more banal, bloated, and badly-produced than ever before and—in true 80's form—it's lauded as a triumph. I used to like the band back in the day, so I know there's some goodness here (there has to be, right?) but bugger if I'm going to sit through the whole thing again to find it.Mark Ronson Uptown SpecialRevised review in light of repeated listenings. Only a couple songs really hold up once the novelty wears off, and a couple others that could have been good are ruined by annoying effects or bad production or both. Retro sound works occasionally, but Ronson doesn't always pull it off. I'm disappointed.Red Hot Chili Peppers I'm With YouWhen first vetting this album, it sounded good enough to buy (at a discounted price). Since then, I've never once thought to myself, "I'd like to listen to RHCP's I'm With You right now". Apart from "Monarchy of Roses", I can't remember how a single other song here goes. And that doesn't bother me one bit.Taylor Swift 1989"Shake It Off" took some getting used to but I like it. "Style" and "I Know Places" are okay; the former is pretty sonically daring for pop. The rest of this album doesn't interest me.Weezer The Green AlbumThis one falls flat. Nothin' but hooks sans emotion. Still good for a spin every once in a while though.Weezer Make BelieveMore skippers than players. "Beverly Hills" included; I never liked the thing, though it's tolerable if I've no alternative at the time. Ignore the inanity and others aren't so bad: "Perfect Situation", "This is Such a Pity", "We Are All On Drugs", "The Damage in Your Heart". Hit eject once "The Other Way" ends and pretend it's an EP. Weezer RaditudeAt this point I've given up on Weezer's making anything GOOD. This is all okay radio fodder, though thankfully has a longer shelf life due to lack of airplay.1.5 very poorAtlas Genius When It Was NowThe "hits" all sound the same (key, tempo, structure... chord progression). Electro gimmicks and such. I deeply regret this purchase. 1.0 awfulCapital Cities In A Tidal Wave of MysteryDo I even need an explanation? The songs all sound alike, and they all sound bad.
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