gus_fr

truly terrible, not a single redeeming quality. would rate it zero if i could.

yes wonderwall, is meme'd to death, but in the context of the rest of the album it works. fight me, i will die on this hill.

people who say they hate oasis are fucking liars, or they're just boring and not worth your time.

perfect. sophie will forever be missed.

this had me like frank in that one it's always sunny episode, "oh my god... i get it." and i haven't looked back since.

absolutely heartbreaking. play at your own risk.

aged like fucking milk. 'wake up' is still great, fuck win butler.

believe the hype.

ferocious doesn't even begin to describe this, comes at you like a bull out of a cage.

indie twang perfection.

the blueprint for any industrial release that came after it. every album in the genre should hold itself to this standard.

did the dark ambient breaks before anyone else, legendary for a good reason.

all killer no filler, death metal ferocity, not bringing anything new to the table, but when you're doing the fundamentals better than your some of your elders ever did, that's fine.

probably the best black metal album ever? the drummer was a racist, bigoted, murdering piece of shit just like another very famous musician from this genre. he is no longer in the band and they have openly denounced his views, so i consider this album alright to listen to.

mixes and matches sounds from all over the place and brings it together in this fantastic afro-futurist package.

incredibly exciting techno. go listen for yourself.

gorgeous instrumentals, don't love the production on the drums for some of these tracks, but on the whole a good listen.

synth-pop greatness, do i even need to elaborate? probably their best album?

very mixed feelings about this album as a whole, but some great tracks like 'we make hits' and 'blackpool illuminations' keep me coming back, score might go up later on.

narrator: it did not.

beautifully layered album, takes influence from two of my favourite bands, grateful dead and pavement, for some great guitar melodies.

more low-key, or rather not as danceable as their previous releases, but is still some of the most exciting dub techno out there.

moor mother is such an incredibly consistent artist, across side-projects, collabs and her solo output. this album is Dark, poignant lyrics about the past, present, and future. has a safe spot in my top 10 of the year.

noisy instrumentals over trap beats, and kim talking in a stream-of-consciousness, love it.

the body love to collaborate with other artists, and i love that too. this collaboration was very much out of left field, as many of their collabs have been within the metal blanket, but this is my favourite output from the body since 'i've seen all i need to see' in 2021.

it's insane that one of four tet's weaker releases in recent years is still this good.

it's a future and metro boomin collab, it sounds exactly how you'd expect. still waiting for ds3. some of the features suck. stop putting the weeknd on everything.

on the whole, doesn't live up to my expectations after how great 'saint cloud' was, but still a great modern americana album.

the spirit and songwriting of the late great ryuichi sakamoto lives on in kelly moran.

one of my most played albums of the year so far, gendel's sax and nascimento's guitar marry perfectly on this.

really hoping this grows on me, as much as i love faye webster, there's something about a bunch of the songs on here that just doesn't click with me.