While it is Love's classic 1968 release Forever Changes that steals away most of the bands attention, Da Capo is a masterpiece in its own right.
b&b consists of non-stop sad-happy, chill trap beats, pitch-corrected vocals, and archetypal modern rap styling's. The baseline quality isn't too low however, but at 64-min's, overstays its welcome.
It's nearly unimaginable someone would think they could do better than Television. The very fact that band leader Richard Meyers left the band he formed, an incredible band at that, is testament to his belief in his vision. Of course nothing is ever so simple. There was tension in the band, and he figured he could do things his own way, so he did.
Let's take it back to 1995: The Offspring and Green Day have both been certified multi-platinum with their smash hit albums, but so have 2Pac and The Notorious B.I.G.
It's time to explore a series of phenomena that appears to appear mostly in metal: only in metal is it the case where long time bands get a spark lit under their asses and come back with some of the best work of their careers.
It's difficult to put into words what makes this album so great. In terms of verbiage, it doesn't look so unique on paper - fast hi-hat and ride cymbal hits, dual-harmonized guitar harmonies, both trademarks of that OC hardcore sound; fast melodic hardcore music mostly consisting of distorted power chords with a vocal style somewhere between carrying a melody and yelling.
T.S.O.L.'s Dance With Me finds the band halfway between transitioning from their hardcore punk roots to full-on deathrock. It may come off as the band having a slight identity crisis - the band often oscillates between straight early-'80's SoCal hardcore punk and being legit progenitors of the deathrock sub-genre, but it isn't a half-hearted attempt.
Adam And The Ants' uneven final album is a bit silly and repetitive, but it's a fun listen. The band simply oozes style.
I've come to realize that there weren't too many bands until the early '70's where it sounded like the band didn't know or care what else was going on in the musical world.
Ideamen have created an impressive and cohesive musical statement with Schemata. Being one of the most accessible experimental/art rock groups puts them in a strange place: too left-of-center for most, too normal for others.
Fear were the promise for a genre that never fully reached its potential: Fear can play their instruments; Lee Ving can actually sing; the lyrics are offensive. Even (or especially) by today's standards; there's a lot of variety; the recording sounds good. Fear proved you can make interesting music built around a framework of hardcore punk.
Right off the bat, one is stricken by the abrasiveness of the synth parts, the distorted drums, and the abrupt shifts in sound and style. This album sounds like commercial appeal was one of the last things on Ye's mind. A truly bold move for such a high-profile artist.