The songs are beautiful in ways only Ray Davies can achieve, but the album’s scattered feel keeps it from being more than the sum of its parts.
The Dark Side of the Moon is one of those high-water marks of artistic expression. It’s just sublime. I don’t have a bad thing to say about it.
Rain Dogs isn’t for everyone, but if you want to hear what the roots of an urban jungle sound like - in all their sad and messy madness - it’s well worth a listen.
With a vast and powerful sound, here we experience U2 without the excruciating self-indulgence that turns listeners away from their more recent works.
One of the most enjoyable pop albums of all time, an iconic work that will forever be used as an example for songwriting expertise.
There are few better highs than Muse in top gear. It’s breathless, explosive music; the kind that compels listeners to pick up an instrument or start a band.
The opening third is nothing to write home about, the middle section is terrific, and the last twenty minutes are ludicrous. Drones is the full Muse package.
On The Beach is perfect for those late nights alone. Both mellow and despondent, the record features the purest of songwriting from a genuine artist.
A record that’s unabashed and vibrant and full of potential. Wolf Alice show glimpses of what's to come, straddling genres with almost childlike enthusiasm.
Homme’s quip that rock 'should be heavy enough for the boys and sweet enough for the girls' rings true here; there’s a near perfect balance of grit and finesse.