Joe
joeghost.bsky.social
Joe
@joeghost.bsky.social
36 followers 65 following 280 posts
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Matthew Good Band—Beautiful Midnight (1999):

Brutally dull slow rock. I also give it 80% odds that M.G. wrote this one's wikipedia entry himself.

Album 225/384
Tom Misch—Geography (2018):

It’s alright music to cook to, but that’s about all I got out of it. Tepid.

Album 224/384
Karnivool—Sound Awake (2009):

Pretty straightforward anglo metal. Little bit like if TOOL spelled their name all-lowercase

Album 223/381
Shihad—The General Electric (1999):

That's sure some late 90s hard rock. Elevated a little by successfully doing the "sounds like it's being played in a city under the ocean" thing that Oasis sometimes manages

Album 222/381
King Gizzard & The Lizard Wizard—Polygondwanaland (2017):

On one of the extreme ends of whatever political compass chart governs their output. One of their biggest strengths is that they're huge music theory nerds, and this goes all-in on the Polyrhythm theme. An audience favorite.

Album 221/380
Final Fantasy—Has A Good Home (2005):

So of course I saw that artist name and immediately thought I'd be getting the ELP-inspired synths. Instead, it's like elevated string quartet-style stuff. Not bad, and kind within expectations for an Arcade Fire contributor.

Album 220/380
Living Colour—Time's Up (1990):

Most 90s rock is a chore for me, so I was really impressed with this one. Casts a really wide net of influence, reminded me a lot of that Fishbone album from the main list.

Album 219/380
The Weeknd—After Hours (2020):

Nighttime city driving music that's really going for it.

Like a lot of pop albums, it's basically just a vehicle for the big single. At least here, though, Blinding Lights is an actual climax to the thing instead of just being jammed in at the start.

Album 218/380
Yo La Tengo—I Can Hear The Heart Beating As One (1997):

Yo La Tengo's always been kind of interesting to me. Like I've never developed even a little bit of enthusiasm for them, but when I actually put them on, they're pretty good. I've never had anything bad to say about them.

Album 217/380
Pink Floyd—Pulse (1995):

Between the lists, Pink Floyd's had more than their fair share of exposure, and this doesn't cover ground that's not in the other ones. That said, I mean "oh noooo a two-hour live Pink Floyd album," y'know? twist my arm etc. Them at their worst is still good.

Album 216/380
Quicksand—Slip (1994):

More like Slowsand.

Album 215/380
Mustafa—When Smoke Rises (2021):

Very relaxed and pleasant piano arrangements. The Sufjan influence shows, and is welcome here. Good rainy morning music.

Album 214/380
The Tragically Hip—Phantom Power (1998):

Canadian bands really getting a lot of exposure on the user list. This one's kind of a polished-up R.E.M. for better or worse. The polishing makes them a little less interesting than R.E.M., but they're still pretty alright.

Album 213/375
Kenny Wayne Shepherd—10 Days Out: Blues from the Backroads (2007):

Hour-long blues digression

Album 212/375
Crystal Castles—Crystal Castles (2008):

Using the sounds of video games to make music that's indifferent to whether its audience has ever touched a video game

Album 210/375
Portishead—Portishead (1997):

Completing the trio. On its own I think I liked this one a little less than both Dummy and Third, but the three as a combined body of work are all-timers

Album 210/375
Korn—Korn (1994):

Music for punching yourself in the head really hard (out of depression). This kind of thing doesn't really speak to me, and I'd reach for like NIN or Modest Mouse before this if crashing out.

Also lacks fun weirdo moves like "Freak on a Leash" from the other album.

Album 209/375
Korn—Korn (1994):

Music for punching yourself in the head really hard (out of depression). This kind of thing doesn't really speak to me, and I'd reach for like NIN or Modest Mouse before this if crashing out.

Also lacks fun weirdo moves like "Freak on a Leash" from the other album.

Album 209/375
The Cure—Songs Of A Lost World (2024):

Pretty dang good for being that late into their career, but also doesn't bring much to the table that the original list hadn't already showcased.

Album 208/375
Lady Gaga—The Fame (2008):

More fun in her heyday than today's personalities, but that still just kinda makes her top in class at annoying entertainment news bullshit.

Musically it's the same form as every other post-90s pop lady: 3-4 pretty fun radio hits then 10-11 wastes of time.

Album 207/374
Baroness—Yellow & Green (2012):

Most American heavy metal is kind of a chore, and this one's no exception.

Album 206/374
Amon Düül II—Yeti (1970):

A very proggy blend of psych rock. *Extremely* reminiscent of Hawkwind from the main list, with a bit less of a groove throughout. Apparently there's some personnel crossover between the two.

Album 205/374
Electric Callboy—TEKKNO (2022):

Baffling experience. Mashes up the most annoying and tacky aspects of metal and eurodance, and it doesn't work at all. They're not even really blending the styles so much as just switching audio channels on and off. Awful, but a fun curveball to get.

Album 204/374
The Vaccines—What Did You Expect from The Vaccines? (2011):

A grandiose shouting style of indie rock. The way that Imagine Dragons sort of became the culmination of this direction kinda scuffs up a lot of this kind of thing for me these days. It's a fun trip down memory lane, though.

Album 203/374
Aesop Rock—The Impossible Kid (2016):

I'm such a music > lyrics person that it can make me a bad rap listener a lot of the time, so it's always great to draw something where the production clicks with me immediately. Fun album art too.

Album 202/374
Type O Negative—Bloody Kisses (1993):

Classic of goth albums. Good anthropology, but every song went a little too slow and a little too long for my taste

Album 201/374