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MUSIC DIARY

  • Writer: Pigeon
    Pigeon
  • Feb 27
  • 29 min read

Updated: 19 hours ago














Let us know in the comments which records should we listen to next!!!

Pigeon says: "An album a day keeps depression away"

  • AGREE

  • DISAGREE


13/06


Cocteau Twins - The Spangle Maker EP (1984)

STRONG 8 /10


The Spangle Maker is a phenomenal EP that fully encapsulates the high point in their career that was Treasure. Most of the strong aspects of that record are a key component of this 3-song EP, so you can know I’m very much in love with it in its entirety. Last song drops the bar a bit, which is a shame, because although it is quite good and superior to anything in the band’s first two EPs, it doesn’t quite stand as tall as the first two tracks here.


Fav. Tracks: The Spangle Maker; Pearly-Dewdrops’ Drops


Least Fav. Track: Pepper Tree

12/06


Sade - Promise (1985)

LIGHT 9 /10


I had the most incredible surprise when I discovered my very first Sade record, lost in my basement, just waiting to be played for the first time. Despite never having listened to Sade before, I was fully aware of the profound impact her name holds in the music industry, so I recognized this moment as a clear sign to dive into the record immediately. That was a week ago, and since then, I’ve been completely captivated by this exceptional project from the legendary British band fronted by Sade herself.


Uncovering this gem has been one of the standout vinyl experiences of my life. The quality of this record is unsurpassed—from the songwriting and performances to the production and overall consistency. The sound is immersive, lush, textured, and vibrant, making it impossible not to fall in love instantly. I have no doubt this sentiment will be echoed as I explore more of their work shortly.


Fav. Tracks: Is It A Crime (the neuron activation the moment the MF DOOM-sampled bit starts playing 😳); The Sweetest Taboo; War Of The Hearts; You’re Not The Man; Mr. Wrong; Punch Drunk; Never As Good As The First Time; Tar Baby; Maureen


Least Fav. Track: Fear

11/06


Storm And Stress - Under Thunder And Fluorescent Lights (2000)

STRONG 6/10


Kind of mindblowing how the nonsensical kind of makes sense in this record, and how a band so comfortable in playing deconstructed sounds is also so good in conveying emotion. Or at least when this record is at its best, because after a while, it's impossible for me not to feel a bit exhausted by all this disconnection. Interesting and incredibly well performed, but maybe a bit too much of its gimmick in order to fully work out to me.


Fav. Tracks: honestly, everything sounds a bit too much like the same to me


Least Fav. Track: the same here


Words by Martim Martins 

10/06


Cocteau Twins - Peppermint Pig (1983)

LIGHT 7 /10


Not the strongest set of songs by the band, but the EP that came before also wasn't, so there's that. All in all, just a set of three very transitory tracks in the band's catalogue, just like the previous EP, with some stronger cuts and some weaker ones.


Fav. Tracks: Peppermint Pig; Hazel


Least Fav. Track: Laugh Lines

Words by Martim Martins 

09/06


David Bowie - Let’s Dance (1983)

DECENT 7 /10


Since forever, this has been my most anticipated record in all of Bowie's catalog, and for specific reasons. While it may not be Bowie's strongest project or his most acclaimed one, "Let's Dance" remains the earliest song in Bowie's repertoire that I can remember listening to before I was even aware of who David Bowie was. Although I already loved songs like "Life On Mars?" and "Starman" before delving into Bowie's catalog, I appreciated those songs from the start with the understanding that I was listening to a David Bowie song and the significance of his name in the music world. In contrast, I have to thank Band Hero for introducing me to "Let's Dance" before I knew who David Bowie was. Considering the artist behind the music and his many artistic eras, "Let's Dance" was probably the record that intrigued me the most, even if I knew it wouldn’t make it to my top ten Bowie records.


With that introduction, what do I have to say about "Let's Dance", the album? It represents a poppier and more commercially viable direction for Bowie, but at no point does it feel like a sellout. This project marks a fascinating point in his discography, coming right after one of his most experimental albums, "Scary Monsters (And Super Creeps)". Here, we find one of Bowie's most accessible works. He indeed takes an easier approach (perhaps sometimes a bit too easy), but overall, the songs are quite good! The first three tracks are phenomenal, as is the last one, while everything in between ranges from decent to quite good.


Sometimes I get the impression that Bowie isn’t fully engaged with some of these tracks, which is a shame because a song like "Criminal World" could have been great if not for his somewhat weak vocal performance. Some tracks also feel less memorable, in my opinion, but for anyone wanting to embark on a nostalgic journey through 80s pop, "Let's Dance" should deliver the desired experience. Just keep in mind that it may not be the best entry point into Bowie's catalog, nor is it the strongest '80s pop album.


Fav. Tracks: Modern Love; China Girl; Let's Dance; Cat People (Putting Out Fire); Shake It


Least Fav. Track: Without You

Words by Martim Martins 

08/06


David Bowie - Scary Monsters (And Super Creeps) (1980)

STRONG 8 /10


This album is very close to being a top-tier David Bowie record, and I’m optimistic that it will continue to grow on me in the future because it is simply phenomenal! I wasn't sure what to expect, as this record is much beloved yet not discussed as frequently as some of his earlier masterpieces. However, I’m thrilled to see how effectively it returns to Bowie’s glam roots. While "Scary Monsters" doesn’t follow a straightforward back-to-basics formula, it features many eccentricities and a heroic approach to the guitar solos that resonate well with albums like "Hunky Dory" or "Ziggy Stardust". This record is more experimental, incorporating stronger elements of electronica and unique details throughout, which ultimately sets it apart in Bowie's catalog. At its best, the album is mind-blowing; even at its worst, it's quite enjoyable. Overall, it's an incredibly strong addition to Bowie's discography.


Fav. Tracks: It's No Game (No. 1); Up The Hill Backwards; Scary Monsters (And Super-Creeps); Teenage Wildlife; Kingdom Come; Because You're Young


Least Fav. Track: Fashion

Words by Martim Martins 

07/06


Songs: Ohia - The Lioness (2000)

LIGHT 8 /10


For quite some time, I have been immersed in Jason Molina's "The Lioness", undeniably one of the many small masterpieces in his impressive catalog. This follows my first encounter with his music, the phenomenal "Magnolia Electric Co.", an album that has only grown in significance for me over time. This journey reflects my deep dive into music that began back in 2000. Naturally, my expectations for "The Lioness" were high, given its critical acclaim.


While "The Lioness" may not quite reach the heights of "Magnolia Electric Co.", this merely underscores the extraordinary strength of the latter. This project is nothing short of spectacular. It embodies a moody and introspective atmosphere, evident in both the songwriting and performances. The instrumentation is intentionally minimal, focusing on the essentials that keep these slowcore songs moving forward. This raw appeal enhances the authenticity of the music. Molina's vocals are exceptional—deeply rich and profoundly moving, adding layers of emotion throughout the record. I must point out that some tracks feel slightly short, which could be seen as a minor flaw. Yet, this brevity contributes to an unrefined quality that works in its favor. Molina avoids overstaying his welcome, only elongating a song when it genuinely serves the piece. While there are some longer tracks, most songs don’t exceed four minutes, a refreshing contrast in a genre prone to excessive length.


Overall, "The Lioness" stands as an impressive slowcore singer-songwriter project and is yet another remarkable addition to Molina's distinguished discography.


Fav. Tracks: The Black Crow; Tigress; Lioness; Coxcomb Red; Baby Take A Look; Just A Spark


Least Fav. Track: Being In Love

Words by Martim Martins 

06/06


Cocteau Twins - Milk & Kisses (1996)

LIGHT 7 /10


Alongside "Garlands," this is undoubtedly the weakest offering from Cocteau Twins. Nevertheless, it is important to recognize that "Milk & Kisses" is still a strong album in its own right. Instead of representing a significant milestone in the band’s evolution—or in the realm of dream pop—this album merely underscores why their sound is so iconic.


The songs are undeniably enjoyable; however, none can compete with the brilliance of the albums that came before. While everything on this record sounds good and remains close to their earlier work, it fails to stand out as noteworthy within their catalog. "Milk & Kisses" is a solid dream-pop album that could serve as an entry point for newcomers, but for long-time fans who have followed the band's transformation from the post-punk and gothic soundscapes of "Garlands" to the groundbreaking "Heaven or Las Vegas," this will simply be another decent album in the Cocteau Twins discography—and nothing more.


Fav. Tracks: Violaine; Tishbite; Half-Gifts; Calfskin Smack; Treasure Hiding


Least Fav. Track: Rilkean Heart

Words by Martim Martins 

05/06


Cocteau Twins - Lullabies EP (1982)

DECENT 7 /10


This EP serves as a bridge between the band's first two records. While "Garlands" is a good effort, it doesn't fully showcase the band's strengths, in my opinion. This EP begins to highlight their musical direction, which became more defined the following year with "Head Over Heels." It's a pity that the middle track isn't very memorable, as both the first and last tracks on this EP are quite good!


Fav. Tracks: Feathers-Oar-Blades; All But An Ark Lark


Least Fav. Track: Alas Dies Laughing

Words by Martim Martins 

04/06


David Bowie - Lodger (1979)

LIGHT 8 /10


Lodger is not the Bowie record I anticipated loving, especially since it doesn’t receive the same level of discussion as his other classics. Yet, I was genuinely impressed by the quality he delivered in this album. While it doesn’t push the boundaries as far as his previous masterpieces, Low and “Heroes,” it showcases a maturity and meticulousness that rival Station To Station. This record aligns more closely with Station To Station than the earlier two albums, all while embracing a glam aesthetic that harks back to iconic works like Hunky Dory and Ziggy Stardust.


This positions Lodger as a remarkable entry in his discography. It is unapologetically ambitious and artistic in its approach, exuding a strong personality that is both memorable and playful. These characteristics enhance my appreciation for the album. While Lodger may not strive for the same heights as the masterpieces I’ve referenced, it stands out as a solid effort, featuring exceptional compositions and unique performances throughout. It unquestionably occupies a place among the stronger half of his catalog, further solidifying Bowie’s status as the chameleon of rock.


Fav. Tracks: Fantastic Voyage; Move On; Yassassin; Red Sails; D.J.; Look Back In Anger; Boys Keep Swinging


Least Fav. Track: African Night Flight

Words by Martim Martins 

03/06


Cocteau Twins - Four-Calendar Café (1993)

DECENT 8 /10


Four-Calendar Café is, for lack of a better description, Cocteau Twins doing what they’re already known to do best. Which isn’t something bad, at least not entirely. Of course that lack of innovation in this record puts it slightly beneath some of the band’s best records, but the expertise the band plays tracks with is more than enough to keep sealing the deal. The project starts with one of my favorite songs from the band, Know Who You Are At Every Age, and is quick to establish this more subdued, comfortable aesthetic this record plays with. In opposition to Heaven Or Las Vegas, or even Blue Bell Knoll, which played a lot with the band’s noisier sound, Four-Calendar Café is one of the more pristine records in the band’s discography, also a very comfortable listen in the best way possible. Because the comfort the melodies and aesthetics the band is bringing this time around isn’t a sign of a less quality songwriting, less engaging performances or anything. In fact, I’m still pretty positive the band is playing in top form in this album, only not going for the full boundary-pushing picture they went for with the past two releases.


Fav. Tracks: Know You At Every Age; Evangeline; Bluebeard; Oil Of Angels; Squeeze-Wax; Summerhead; Pur


Least Fav. Track: My Truth

Words by Martim Martins 

02/06


David Bowie (1978)

LIGHT 6 /10


I enjoy "Peter and the Wolf" and have a particular fondness for "The Nutcracker Suite." Additionally, I have a strong appreciation for David Bowie and his immense contributions to rock and pop music. However, merging all of these into a single record simply fails to create anything meaningful.


First and foremost, labeling this project as a David Bowie record is misleading. As I listen to it in the context of my deep dive into his discography, it becomes evident that Bowie only narrates the first half of the album. Beyond his participation, this version lacks any real surprises; his role as the narrator often detracts from the core music instead of enhancing it.


In assessing this as a Bowie record, it is undeniably only mildly entertaining and lacks sufficient Bowie's essence to warrant significant interest. Evaluating it as a rendition of classical compositions, it comes off as predictable and safe, ultimately falling short of making an impact—despite the inherent quality of the original material.


Fav. Tracks: n/a


Least Fav. Track: n/a

Words by Martim Martins 

01/ 06


Joanna Newsom - Ys (2006)

10/10


Ys stands as a powerful representation of music that defies easy categorization. While it might evoke a hiss or a questioning sound, the true significance lies in the uniqueness of the album title, which perfectly encapsulates the extraordinary nature of the music within. Though I haven't explored much of Joanna Newsom's discography, Ys unequivocally establishes itself as an exceptional gateway into her artistic realm.


This connection may seem like an obvious metaphor because Ys clearly embodies a fantastical style of music that transports listeners to another dimension. However, unlike many artists who might rely solely on surface-level aesthetics, Joanna delivers something profoundly meaningful—an essence brought to life through her distinct aesthetic. I assert that this is one of the most ambitious folk albums I have ever encountered. To label Joanna’s music simply as folk would not only be reductive but also a disservice, given her intricate blend of baroque influences, art pop, and parallels to icons like Björk and Joni Mitchell.


The arrangements within this album are nothing short of spectacular—vibrant, dynamic, and teeming with life. They elevate these ambitious compositions to a level of mastery that few artists can achieve. The music is not merely expansive; it is progressive, constantly surprising and challenging my expectations. Joanna captivates her audience with innovative techniques that enhance the theatricality of her performances and create an intimate connection with her stories.


Her narratives are rich with profound meanings, metaphors, and vivid imagery, all brought to life by Joanna's unique vocal prowess throughout the record. Few albums have resonated with me as powerfully as Ys has over the past few weeks, which is precisely why I took the time to articulate my thoughts. This project has firmly established Joanna Newsom as one of the most compelling singer-songwriters of our time.


Fav. Tracks: ALL OF THEM


Least Fav. Track: no weak songs today

Words by Martim Martins 

MANY GIZZADVENTURES LATER...

15/05


The Magnetic Fields - 69 Love Songs (1999)

STRONG 9 /10


"69 Love Songs" by The Magnetic Fields stands as an undeniable landmark in indie pop. This extraordinary work features 69 essential tracks that are not just songs; they are love letters to indie pop, chamber music, psychedelic influences, and everything in between. Spanning three exceptional discs, it showcases the most consistent pop music you will ever hear, celebrating the very essence of an entire genre in a way that demands recognition.


This album is a masterclass in songwriting, offering some of the sweetest tunes you will ever encounter. With nearly three hours of flawless indie pop, it is the shortest-sounding longest album ever created. Each of the 69 dynamic songs reinforces The Magnetic Fields' ambition, establishing this collection as one of the most significant American pop albums of all time. It deserves the title of the last great masterpiece of the 1990s, and my passion for this band is unwavering. I originally set out to articulate 69 different ways to describe this album, but it quickly became clear that I could never fully capture its brilliance without emulating the genius of The Magnetic Fields themselves.


Fav. Tracks:

Disk 1: Absolutely Cuckoo; I Don’t Believe In The Sun; All My Little Words; A Chicken With Its Head Cut Off; I Don’t Want To Get Over You; Come Back From San Francisco; The Luckiest Guy On The Lower East Side; Let’s Pretend We’re Bunny Rabbits; I Think I Need A New Heart; The Book Of Love; Fido, Your Leash Is Too Long; Punk Love; Parades Go By; Boa Constrictor; Sweet-Lovin’ Man; The Things We Did And Didn’t Do

Disk 2: Love Is Like Jazz; When My Boy Walks Down The Street; Time Enough For Rocking When We’re Old; Very Funny; No One Will Ever Love You; If You Don’t Cry; (Crazy For You But) Not That Crazy; Promises Of Eternity; World Love; Washington D.C.; Long-Forgotten Fairytale; Papa Was A Rodeo; Epitaph For My Heart; The Sun Goes Down And The World Goes Dancing; The Way You Say Good-Night; Abigail, Belle Of Kilronan

Disk 3: It’s A Crime; Busby Berkeley Dreams; I’m Sorry I Love You; Acoustic Guitar; The Death Of Ferdinand De Saussure; Love In The Shadows; Bitter Tears; Wi’ Nae Wee Bairn Ye’ll Me Beget; Yeah! Oh, Yeah!; Meaningless; Queen Of The Savages; Blue You; I Can’t Touch You Anymore; How To Say Goodbye; The Night You Can’t Remember; For We Are The King Of The Boudoir; Strange Eyes; Xylophone Track; Zebra


Least Fav. Track: Underwear


14/05


Nick Drake - Five Leaves Left (1969)

STRONG 9 /10


Nick Drake is undoubtedly one of the most extraordinary artists in music history, and his album "Pink Moon" is arguably my favorite album of all time. After some time, I feel compelled to share my thoughts on his first full-length studio album, "Five Leaves Left". This album beautifully highlights Nick's simplicity while producing a rich and immersive sound. While "Pink Moon" is also captivating, I perceive "Five Leaves Left" to offer a more meditative experience.


The album's raw and unpolished nature adds a level of authenticity that is often missing in contemporary music. The additional backing instrumentation enhances his work without overshadowing its fundamental essence. Trying to articulate the power of Nick Drake’s music reminds me of explaining why grandma’s cooking evokes a sense of home, why the first rains of the year feel so refreshing, or how a warm ray of sunlight can brighten one’s day—it’s simply undeniable.


It's quite astonishing that his music went underappreciated for so long, as he truly deserves all the recognition for crafting such beautifully simple songs. Though "Five Leaves Left" may be the most conventional record in Drake's limited catalog, it's still exceptional. Just think about how a track like "Man in a Shed" offers timeless comfort, or how "Three Hours" resonates with rich cultural nuances that many artists struggle to capture, even with elaborate orchestration. Drake manages to achieve all of this with just a guitar and a few other elements.


So, without question, I wholeheartedly support Drake’s debut. It ranks among the greatest debuts in music history and stands as a powerful testament to what is arguably one of the most remarkable discographies ever created.


Fav. Tracks: Time Has Told Me; River Man; Three Hours; ‘Cello Song; The Thoughts Of Mary Jane; Man In A Shed; Fruit Tree; Saturday Sun


Least Fav. Track: Way To Blue


13/05


Morbid Angel - Altars Of Madness (1989)

STRONG 8 /10


The classic "Altars Of Madness" stands as a pivotal milestone in the evolution of death metal, cementing Morbid Angel's status as one of the most influential American bands in the genre. This album exemplifies the crucial shift from the thrashy sound pioneered by Metallica to the complex blast beats that now dominate death metal.


While it’s important to acknowledge the advancements within the genre that have emerged since this release, it’s equally clear that "Altars Of Madness" represents a foundational exploration of death metal. Contrary to the notion that it may have been overshadowed over time, Morbid Angel plays this now-established sound with a distinctive flair that is unmatched, making the album indispensable for any serious listener.


Ultimately, while the album delivers a series of fierce and fast-paced tracks, its true strength lies in the historical perspective it offers on the genre, rather than being labeled as the most ambitious example of death metal. Its impact and significance cannot be overstated.


Fav. Tracks: Immortal Rites; Suffocation; Maze Of Torment; Lord Of All Fevers & Plague; Chapel Of Ghouls; Damnation; Evil Spells


Least Fav. Track: Bleed For The Devil


12/05

The Who - Who's Next (1971)

LIGHT 9 /10


I don't know to what extent The Who has the influence that other classic rock bands of this time had. Comparing the band to Led Zeppelin, who helped shape the hard rock scene in a way that few other bands would, comparing them to Yes, with their colorful and versatile expansions of what prog rock was at the time, but also reflecting on what an artist like Todd Rundgrenn was able to mobilize when it came to psychedelic pop, The Who don't seem like influencers so much as the result of a crucial evolution of the genre.


As such, "Who's Next" ends up taking a lot of these artists' sounds and ideas and concentrating it all on a single album. An album that can be characterized as hard rock, yes, but that would perhaps be reducing it a little to what it is capable of offering. Because if the band features powerful riffs on Bargain, the synths and psychedelic ambitions of the band on Baba O'Riley, not only their most popular song but also the best on the album, is in any case enough to be characterized as art rock in its purest form. Multiple moments on this album lean towards the progressive sound full of pianos and synthesizers that I mentioned earlier, and this combined with the more straightforward hard rock riffs create a contrast that I never thought would work so well.


As much as this album has been mentioned in discussions over time, the fact is that its biggest audience is a boomer crowd that finds it difficult to align its taste with what is generally the old-school rock that the new generation values most. And as part of the new generation, I'm amazed but incredibly happy to realize that "Who's Next" deserves perhaps a little more credit than we're giving them.


Fav. Tracks: Bab O’Riley; Bargain; My Wife; The Song Is Over; Getting In Tune; Going Mobile; Won’t Get Fooled Again


Least Fav. Track: Behind Blue Eyes


11/05


Black Sabbath - Cross Purposes (1994)

LIGHT 4 /10


Ronnie Dio’s departure marked the beginning of Black Sabbath’s decline once again. After the surprisingly solid album "Dehumanizer", the band has stumbled back into a cycle of mediocrity with "Cross Purposes", which is arguably their weakest effort yet. This album offers very little of substance, making it difficult to justify its release. In an era where metal has evolved dramatically since the band first emerged, Black Sabbath clings to an outdated style that bears little resemblance to the iconic sound that defined their early years and established their first albums as groundbreaking in the genre's evolution.


While revisiting old-school metal could work if the songs were of high quality, this is simply not the case here. The lackluster performances and unimaginative riffs dominate the album, making it a tedious experience. Aside from a couple of acceptable moments, the majority of the album is nothing more than a chore to listen to.


Fav. Tracks: hard to choose


Least Fav. Track: there are several disappointing tracks in the middle


10/05


Cocteau Twins - Blue Bell Knoll (1988)

LIGHT 9 /10


While “Blue Bell Knoll” may not be the most talked-about album in the band’s discography, it deserves recognition as one of their finest achievements. Departing from the clear, ethereal sound of “The Moon and the Melodies”, this album invigorates their signature style by embracing a noisier, more dynamic approach. The way the band skillfully intertwines rich tones and textured atmospherics is nothing short of impressive; it's amazing how songs that lean so heavily on these elements can evoke such profound beauty. This intentionality sets the album apart, yet the band remains committed to the enchanting essence that has characterized their music from the start. The result is an album that leans into the shoegaze genre, forging a path to the extraordinary “Heaven or Las Vegas”—which many consider their best work. However, “Blue Bell Knoll” is not merely a stepping stone; it is a monumental piece that stands tall in its own right. With an array of exceptional tracks, it features some of the band’s most remarkable creations, solidifying its place as one of the standout albums in their discography.


Fav. Tracks: Blue Bell Knoll; Carolyn’s Fingers; For Phoebe Still A Baby; The Itchy Glowbo Blow; Cico Buff; Suckling The Mender; A Kissed Out Red Floatboat


Least Fav. Track: Spooning Good Singing Gum


09/05


Black Country, New Road - Forever Howlong

8/10 , Daddy said I could


Lambrini Girls - Who Let The Dogs Out

7 /10, Amyl And The Sniffers from the UK, but they'll get to the yellow flannel first for sure


2hollis - boy

7 /10, Rage meets hyperpop but very electronic, with elements of EDM, trance, techno, emo-pop, half Frost Children half I don't know what else; it works amazingly well, although not everything on this album is a banger, but the potential for yellow flannel is all there


Kris Bowers - The Wild Robot (Original Motion Picture Soundtrack)

6 /10, It's good, but not very memorable; it works for what it's supposed to, especially within the movie, but there's not much reason to listen to it outside of that context


Asian Glow & sonhos tomam conta - Dreamglow

6 /10, fine and all


Asian Glow - Unwired Detour

6 /10, another one that is just fine


Asian Glow - 11100011

6 /10, It's the best of the three, but I still feel it falls short of what this artist can achieve


Nininho Vaz Maia - Aparentemente - vol 1

3 /10, Hopefully, if God is really great, we'll never have a Vol. 2 🙏


Coldplay - Moon Music (Full Moon Edition)

2 /10, I feel like Chris Martin has got me to listen to the same album twice


Skepta, Chip & Young Adz - Insomnia

2 /10, Not that I've ever held Skepta in the highest regard, but I mean, it's a long way from releasing an album as banal as this one


08/05


Cocteau Twins - The Moon and the Melodies (1986)

LIGHT 9 /10


Of all the sensational albums the band has released, "The Moon and the Melodies" stands out as one that deserves more recognition. This is unfortunate because, in my view, it is undeniably one of the band’s best works. It might be that this is one of the few Cocteau Twins albums I've encountered before diving deep into their discography, alongside "Heaven or Las Vegas". Having explored their music thoroughly, I firmly believe that this album exemplifies the sound the band sought to achieve, particularly after "Victorialand". They have decisively stripped away much of the noise and chaotic textures that defined their earlier works, which marks everything from "Treasure" onward. With "The Moon and the Melodies", the band has embraced a clearer, cleaner, and equally immersive aesthetic. This album encapsulates the refinement that began with "Victorialand", integrating ambient moments that infuse the project with remarkable depth. Elizabeth Fraser's melodies here are unmistakably unique, filled with geometric intricacies, and represent a peak in the band's more psychedelic direction—this is, without a doubt, the culmination of an entire era for them.


Fav. Tracks: Sea, Swallow Me; Memory Gongs; Why Do You Love Me?; Eyes Are Mosaics; She Will Destroy You; Bloody And Blunt; Ooze Out And Away, Onehow


Least Fav. Track: The Ghost Has No Home


07/05


Cocteau Twins - Victorialand (1986)

LIGHT 8 /10


Cocteau Twins assertively shift their musical direction following their masterpiece, "Treasure", by delving into new territory with "Victorialand". While they had previously established a dynamic sound defined by rich textures and captivating compositions, this album marks their departure from the noise and abrasiveness typical of their post-punk influences. Instead, they embrace a cleaner, more pristine sound, leading to an exceptional addition to their catalog.


"Victorialand" may not have the intense impact of "The Moon and the Melodies", but it is undeniably a precursor to what follows. More than just a transitional piece, this album is home to outstanding tracks such as the mesmerizing "Lazy Calm", the enigmatic "Through the Dark Months of April and May", and my personal favorite, "Oomingmak". While it might not stand as the best Cocteau Twins album, this is only because the band has set an incredibly high bar for themselves.


Ultimately, "Victorialand" is a powerful testament to the band's artistry, delivering yet another collection of dream pop that will continue to influence generations to come.


Fav. Tracks: Lazy Calm; Throughout The Dark Months Of April And May; Oomingmak; Little Spacey; Feet-Like Fins; The Thinner The Air


Least Fav. Track: Whales Tails


06/05


Mobb Deep - The Infamous (1995)

DECENT 9 /10


The 1990s were a golden age for hip hop, characterized by a sound that, while sometimes one-dimensional and uninventive, was also marked by a directness and lack of pretension that is often missing today. Mobb Deep's timeless classic, "The Infamous", exemplifies the strengths of this era, and for good reason. Despite the genre's tendency to lean towards monotony and repetition, the artists of this time managed to create gold from this simplicity, turning it into one of their greatest strengths.


Mobb Deep's sound is grimy, dark, and raw, serving as a powerful response to the cultural climate of the streets during that period. The duo's work avoids pretension, composed with sincerity and a coolness that reflects the culture that brought them to prominence. As a result, "The Infamous" is packed with heavy, incredibly powerful tracks. While the beats may be straightforward, Mobb Deep always has something to say, stories to tell, and mentalities to reflect upon. In a provocative tone, they celebrate the culture of violence that has tragically impacted African-American society.


Discussions about the cultural implications of this music and the responses it evokes have been held numerous times. However, albums like "The Infamous" clearly illustrate how deeply rooted the genre is in African-American culture, and I mean that in the most positive way possible. More than just a display of violence and anti-establishment sentiments, "The Infamous" serves as a response to the oppression consistently reflected in hip-hop, while also celebrating the perseverance of the artists who brought this genre to the world.


Thus, "The Infamous" stands out among most hip hop albums, both for its consistency and for what it represents. It showcases a young duo, just beginning their careers, eager to prove their worth and with impactful messages to share, all accompanied by a heavy aesthetic that complements the album perfectly.


Fav. Tracks: The Start Of Your Ending (41st Side); Survival Of The Fittest; Eye For A Eye (Your Beef Is Mines); Give Up The Goods (Just Step); Temperature’s Rising; Trife Life; Q.U. - Hectic; Right Back At You; Drink Away The Pain (Situations); Shook Ones, Pt. II; Party Over


Least Fav. Track: n/a


05/05


The Stone Roses - The Stone Roses (1989)

STRONG 9 /10


This album is a monumental work in the indie rock genre. It represents a solid foundation for the second half of the Pixies' golden age, particularly influencing albums like "Trompe Le Monde", which is heavier and punkier but draws from these more atmospheric melodies and vocals. The compositions are vibrant and full of color, creating a magical and nostalgic atmosphere, while also showcasing the right quality of craftsmanship. It's unclear to what extent the band has maintained this level of excellence in their later work, but few indie albums reach this standard. The Stone Roses' debut undoubtedly features some of the genre's most accomplished melodies, striking riffs, and a unique atmosphere. It's an experience almost suitable for large arenas, something that very few other artists achieve as effectively as this band does here.


Fav. Tracks: I Wanna Be Adored; She Bangs The Drums; Waterfall; Don’t Stop; Bye Bye Bad Man; (Song For My) Sugar Spun Sister; Made Of Stone; Shoot You Down; I Am The Resurrection; Fools Gold


Least Fav. Track: Elizabeth My Dear


04/05


Primus - Frizzle Fry (1990)

LIGHT 9 /10


"Frizzle Fry" launches an eccentric discography with a remarkable impact. While Primus may not be the most frequently discussed metal band, those acquainted with their absurd and mocking musical style understand why their early albums are significant within the genre. It’s crucial to recognize that funk metal is not a particularly common subgenre, which places Les Claypool's band in a unique yet less competitive arena.


Today, it's ever more vital to revisit Primus' contributions to music. Geordie Greep—arguably one of the most relevant figures in contemporary rock—views the band as a key source of inspiration. This influence can be traced in Black Midi, especially in Greep's captivated vocal style. With Black Midi’s diverse collection of acclaimed works, including Greep’s latest solo project, diving into their music is both intriguing and enlightening.


"Frizzle Fry" stands out as an incredible introduction to the band's artistry, showcasing the breadth of their unique offerings. It's rare for bands to launch from such a powerful starting point; from their very inception, Primus created a distinct world to explore. Although "Sailing the Seas of Cheese" might be an even stronger follow-up, "Frizzle Fry" is undeniably a standout metal album. The performances are extraordinary and eccentric—not just Les Claypool’s vocal flair but also the intricate bass lines, creative riffs, and energetic drumming that align perfectly with the band's whimsical nature.


It's no wonder Primus' covers have achieved iconic status, embodying a raw and cartoonish style that is wonderfully bizarre. This is the realm that "Frizzle Fry" introduces so memorably. The songs are filled with dynamic shifts, intricate rhythms, and captivating grooves, with lyrics that resonate with mystery, magic, and adventure—a combination that few bands can replicate. Listening to this album and trying to identify a lesser song is truly a daunting task, given the consistent high caliber of music it delivers.


Fav. Tracks: To Defy The Laws Of Tradition; Ground Hog’s Day; Too Many Puppies; Mr. Knowitall; Frizzle Fry; John The Fisherman; The Toys Go Winding Down; Pudding Time; Spegetti Western; Hello Skinny/Constantinople


Least Fav. Track: Harold Of The Rocks


03/05


Ethel Cain - Perverts

9 /10, An experience I'm unlikely to forget


Elias Rønnenfelt - Heavy Glory

7 /10, The Iceage frontman's debut is a good one, full of highlights of what makes his band so charismatic


Charley Crockett - 10$ Cowboy

7 /10, Solid, but nothing particularly innovative


Charley Crockett - Visions Of Dallas

7 /10, The return of the 10$ cowboy


FLO - Access All Areas

7 /10, Destiny’s Child is back


BABY GRAVY - Baby Gravy 3

6 /10, I would never have thought that a collaboration between these two would be so unmemorable


Moses Sumney - Sophcore EP

6 /10, It's a shame that not everything works out so well, because for such a short project Moses tries and experiments with a lot of new ideas and occasionally stumbles upon phenomenal moments


Shygirl - Nymph_o

6 /10, The original came out a while ago, but some of these remixes hit hard


Arab Strap - I’m totally fine with it 👍 don’t give a fuck anymore 👍

6 /10, At first I was impressed, but the more I listen to it, the more monotonous it becomes


Various Artists - Twisters: The Album

5 /10, So much shit just because Charley Crockett has a song on this album, but in the end it's a very enlightening compilation of the state of country music at the moment: it's got all the good you'll hear in the genre, but also a lot of the bad; some good songs, some bad, it balances out in the end


02/05


The Beach Boys - Sunflower (1970)

DECENT 8 /10


This is my second experience with a Beach Boys album, and I must say that while "Sunflower" doesn't quite match the groundbreaking spirit of "Pet Sounds", it deserves attention. It may not be the most pivotal album in the realms of psych pop, pop rock, or sunshine pop, but the legendary American band delivers a strong collection of songs. The tracks are infectious, uplifting, and thoughtfully crafted, showcasing vibrant melodies, dynamic arrangements, and all the elements that elevate a good Beach Boys song to greatness. The music on this album fits seamlessly within the niche that the band has established. As I delve deeper into their discography, I anticipate gaining valuable context for how this album fits into their artistic journey. For now, I view it as a robust assortment of outstanding songs, exemplifying the band's enduring impact on the music scene—though it ultimately cannot rival their most iconic work.


Fav. Tracks: Slip On Through; Add Some Music To Your Day; Got To Know The Woman; Deirdre; It’s About Time; Tears In The Morning; Our Sweet Love; At My Window


Least Fav. Track: All I Wanna Do


01/05


The Velvet Underground & Nico - The Velvet Underground & Nico (1967)

10 /10


The "Banana Album", officially titled "The Velvet Underground & Nico", is one of the most iconic and essential albums in music history. Its acclaim is largely attributed to Andy Warhol's remarkable cover art, but the collaboration between the band and singer Nico is equally exceptional. Without the album’s title, one might easily assume that Nico was a permanent member of the band.


This album is a groundbreaking work in rock music, setting standards that continue to resonate today. Tracks like "Run, Run, Run" and "I'm Waiting for the Man" embody the core elements of the genre while the band masterfully infuses these songs with subversive layers that challenge traditional rock norms. "The Velvet Underground & Nico" radiates innovation in every regard and remains a vital listening experience.


The album's production is nothing short of brilliant, featuring a surreal quality that elevates the ideas presented by the band—an achievement that few albums can boast. The contrast between its production techniques and lyrics, which are firmly rooted in rock's foundations, creates a compelling and dynamic listening experience. Each song on this album is fantastic, showcasing a diverse range of styles that deserve appreciation.


The album’s experimental nature leads to standout moments, such as "The Black Angel's Death Song", which features spoken storytelling that echoes Bob Dylan while enveloping the listener in a noisy yet imaginative soundscape. "Heroin" offers a surreal, bittersweet portrayal of its subject, drawing the listener deep into its world. Meanwhile, "European Son" wraps up the album with a chaotic track that boldly deconstructs its identity, making it an effective closing piece, much like the bonus tracks on albums such as "Nevermind" and "Dopethrone".


Opening with the passionate "Sunday Morning", the album sets an unmistakable tone of surrealism and lullaby. It’s an album overflowing with meaning, where the music speaks for itself. Every music fan must experience it at least once in their lives.


Regardless of its age or how far we drift from the time Lou Reed and his legendary band released their debut, "The Velvet Underground & Nico", it will always be recognized as one of the great masterpieces of the art form, standing out with a brilliance that few albums can match.


Fav. Tracks: all of them


Least Fav. Track: none


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14/04 - The day I was seeing myself as a Casanova



13/04 - The night I lost my faith in Muse again



12/04 - The day I wanted to have sex with Kanye



11/04 - The night I fell in love with Rachel Chinnouri




10/04 - The day I wanted to party in the '90s



09/04 - The night Jon Hopkins restored my faith in Coldplay for a few minutes



08/04 - The day I flew to Antarctica



07/04 - The day I realized Trech wasn't an outlier



06/04 - The day I wanted to go back to high school



05/04 - The day I was livin' upside down with Bluey, Oscar Piastri and George Miller



04/04 - The night I decided to torture myself



03/04 - The day I wanted to hear a song from Oasis...



02/04 - The night I was feelin' like a rich ho



01/04 - The day I revisited my very first album!!!



31/03 - The night I was enchanted by a very old Dark Magician



30/03 - Just another day addicted to this record. Julian, please.



29/03 - The night I revisited one of my favorite bands



28/03 - The night I ate McDonalds after kicking Batman's ass!!!



27/03 - The night I finally said "Hi!" to Daniel Johnston



26/03 - The night I was in the mood for something weird and unknown



25/03 - The night I experienced Pink Floyd's fall from grace



24/03 - The night I was spellbound by Meddle's closer: "Echoes"



23/03 - The night I finally gave a spin to Atom Heart Mother after watching cows roaming in the farm all day



22/03 - The day I realized I needed The Strokes to release another record because this one already lives rent-free in my mind



21/03 - The day I finally checked out 13th Floor Elevators and their bold psychedelia



20/03 - The night I finally checked Pink Floyd's follow-ups to "The Piper At The Gates Of Dawn"



19/03 - The night I dug one of synth-punk's most interesting fossils



18/03 - The night I had a blast with this hyperactive bomb!!!



17/03 - The night it took me a long time to find this record because I couldn't write: "Deutsch Amerikanische Freundschaft"



16/03 - The night I finally discovered what DEVO sounds like!!!



15/03 - The night I finally became a Ghost Rider by killing myself twice



14/03 - The night I fell in love all over again with Mykel, Carli, Suzanne, Evaline, Jamie, Jonas, Buddy, Holly, Paperface and Wayne



13/03 - The day I marathoned through Weezer's very underwhelming seasons in a row



12/03 - The night I finally heard one of Pink Floyd's magnum opus: Animal Farm



11/03 - The night I didn't realize why my friends were looping this record



10/03 - The day I revisited one of my favorite albums



09/03 - The day I was stuck at home



08/03 - The day I discovered Portugal's most recent contender at Eurovision



07/03 - "The night I kept revisiting my childhood band"



06/03 - "The night I went back to back with Spacemen 3 on vinyl"



05/03 - "The day I spun my second Valentine's gift"



04/03 - "The day I spun my first Valentine's gift"



03/03 - "The day I was homesick"



02/03 - "The day I couldn't fall asleep on the bus"



01/03 - "The night I revisited my childhood band"



28/02 - "The day I went for a re-run of Cheekface"



27/02 - "The night I gave life back to music"



26/02 - "The night I tried to fight anxiety with Joy Division"



25/02 - "The day Cheekface did a hattrick in my living room"



24/02 - "The day I found out Chet Baker was a hopeless romantic"



23/02 - "The night I finally entered the cult of The Stranglers"



22/02 - "The night I checked some, of my mother- in law's favorite records"



21/02 - The day I got addicted to Ban's "Irreal Social"



20/02 - "The crazy night where I stayed awake spinning Polysics!"



19/02 - "The day I found out Manic Street Preachers wasn't synth-pop"



18/02 - "The day I did my younger self the favor of checking out Chicago's full-length releases"



17/02 - The one-night stand with 80's one-hit wonders



16/02 - The one-night stand with Eurythmics



15/02 - The night I listened to Gary Numan for the first time



14/02 - The night Kendrick made Drake turn his TV off



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05/02 - The day I forgave Twenty One Pilots for "Scaled and Icy"



04/02 - The day I went to the "Discoteca" twice



03/02 - The day I revisited Queen's earlier works



02/02 - The day I revisited Queen's fall from grace



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