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I would totally Jam with them

Rockers

#danganronpa

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Vanishing Vision - X JAPAN (1988 review)

Yeah doing the old format again, overall this was a solid debut album from the Visual Kei pioneers. While it may not have some of the symphonic elements the band would experiment with on later output, there are still some classical elements on here, mainly Yoshiki’s piano playing on tracks like Alive and Unfinished(where it was literally unfinished). As for the other members, Hide and Pata’s duo guitar harmonies shine bright during the guitar solos, and Toshi’s vocals can hit those notes holy shit, but he definitely shines more on the next album. Outside of that this album has some variety; we get thrashing power metal songs like Sadistic Desire, I’ll Kill You, and Kurenai; the last two in particular being entirely in English as with Alive and Unfinished. Dear Loser is an instrumental that does a strong job of opening the album as well. Phantom of Guilt and Sadistic Desire, while sounding different from the previous songs, have that Traditional/Glam-esque sound that I can picture being played on MTV back in the day. Taiji gets a moment to shine on Give Me the Pleasure, decent slapping skills on the bass, the rest of it though feels moreso like a prototype for Xclamation on the next album, still funky.

9.1/10

Listen to the album here

#music #music album #album review #music review #album #japan #metal #rock #visual kei #x japan #1980s #japanese rock

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Idle Moments - Grant Green (1965 Review)

Welcome to the 1960s segment of "10s Revisited". We actually don't have a lot of albums in here compared to the 1950s and ESPECIALLY the 1970s. The first of these albums is the 1965 Studio album Idle Moments by Grant Green, released on the influential jazz label Blue Note. The personnel of this album is the titular guy himself on guitar, Joe Henderson on Tenor Saxophone, Duke Pearson on Piano, Bobby Hutcherson on Vibraphone(which by the way jazz guitar and vibraphone go so perfectly together), Bob Cranshaw on Double Bass, and Al Harewood on drums. The album consists of 4 songs and the two that bookend the album are epics going 12-14 minutes in length. We begin with the title track, Idle Moments, which is also the longest song on the album at almost 15 minutes. Interesting story about this jazz composition in C Minor: It was originally gonna be shorter, but confusion arose at whether or not a chorus was 16 bars or 32 bars(In Traditional pop Music the AABA 32 bar form could be used as a chorus) and so they just kept recording. The producer of this album wanted a 7 minute re-recorded take, but that one 15 minute take had a certain vibe and feeling that they just stuck with it, and because of that the next two tracks had to be compensated in length. Speaking of, the next track is Jean De Fleur, which is my favorite composition on the album, it's also the shortest song on the album at almost 7 minutes, and the fastest track too. The improvisation of Green's guitar followed by Hutcherson's Vibraphone is really melodic, and once again the melodic intro and outro definitely sound like it could be video game music. The other track that was length-compensated was Django, which opens up side 2.This is the only "cover" on this album, originally written and performed by the Modern Jazz Quartet in 1954 tributed to and named after the late Romani-Belgian guitarist Django Reinhardt, who died the year previously in 1953. I haven't heard the original version but they're both close in length to each other. This isn't the best track on the album but I enjoyed it. The album comes to a close with the other long song on the album, Nomad, which basically takes the length of Idle Moments but the moderate swing of Jean De Fleur, another perfect song on this album. And much like Jean De Fleur one of my favorite things in Jazz is hearing how the guitar and vibraphone just blend in with eachother smoothly. Amazing I enjoyed this album, 9.3/10, next album is gonna take us to 1967 with a certain band's foray into the world of Psychedelia. Listen to the album here

#1960s #1960s music #jazz #jazz guitar #guitar #music #music review #album #album review #music album

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Time Out - Dave Brubeck Quartet (1959 Review)

Our final album of the 1950s chapter of "10s" revisit is the seminal album Time Out by The Dave Bruebeck Quartet, released in 1959 on Columbia Records. Now who is the Dave Brubeck Quartet? Of Course you have the man himself on Piano, there's also Paul Desmond on sax, Eugene Wright on Bass, and Joe Morello on Drums. This album would be important in jazz history as it would be the first jazz album to sell 1 million copies. Whereas Milestones by Miles Davis was influential in model jazz, Time Out was influential in the use of different time signatures in music. And when looking through the track listing, there are plenty examples of it. The album opens with Blue Rondo A La Turk, A Beautiful song to open the album, This song switches from 9/8 time to 4/4 time and back to 9/8 time. Brubeck got this unusual rhythm when he heard Turkish street musicians performing an unusual rhythm, and when asking them they said "This rhythm is to us what the blues is to you." Next is the longest song on the album at almost seven and a half minutes, Strange Meadow Lark. Another Beautiful song that starts of with Brubeck solo, before the rest of the quartet comes in at around the 2 minute mark. When the Quartet comes in the song is in 4/4, but it becomes unclear what time signature Brubeck was in when playing solo. Rounding off side 1 is Take Five, the song that needs no introduction. the song gets its name from being performed in a 5/4 time signature, and probably the most well known 5/4 piece of music. Opening up with a melodic improvised solo from Paul Desmond, then Joe Morello comes in banging his drums like a ticking time-bomb, though not something as crazy like other jazz drummers like Gene Krupa or Buddy Rich. Side 2 Opens with Three to Get Ready, which has more swing compared to the first side of the album. This song is mostly in 3/4 time much like Kathy'z Waltz, another well known song from the album. And the last two songs on this album, Everybody's Jumpin, and Pick Up Sticks, are in 6/4 that ranges from Flexiable to steady and on beat. And Just to save my words so I don't have to repeat myself. Every song on here is beyond amazing, absolutely beautiful compositions and contributions from each member of the quartet. And much like songs on Milestones there are some songs I can see work as 90s or early 2000s anime background music. 9.4/10, making this our highest rated album so far and the highest rated album of the 1950s albums in this revisit series. Next review will begin the few 1960s "10s" with Grant Green's Idle Moments. Listen to the album here

#music #music review #music album #album review #album #jazz #cool jazz #50s #50s music #50s jazz

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Milestones - Miles Davis (1958 Review)

One of the three Miles Davis albums I have heard, we'll get to another one of those albums much later, Milestones was a transitional album for Davis in 1958. It was still showing him in his Bebop and Hard Bop phase, but he was also showing hints of his newfound knowledge of "modal jazz", where you Improvise not over chord changes, but modes. Davis would perfect this album on his seminal album Kind of Blue a year later, but since that's not part of the "10s" Revisited series it's gonna be a while before I review that album. Though the one time I did hear the album back in 2021, it has a really good stereo mix for 1959. Anyways, the album case in point. We start off with the opening track. Dr. Jackle, which I thought was just fairly average fast bebop. A rare moment other than the 1984 New Edition self-titled where I though that the opening track was the weakest on the whole album. But back to the song, all I can say about this song is that the double bass, played by Paul Chambers, sounds like the strings are being bowed rather than fingerpicked when played really fast. Much like on Sonny Rollins' Saxophone Colossus, the second track is a complete contrast from the previous in terms of speed, this case being the song Sid's Ahead. This is the longest song on the album at 13 minutes. Because it's at a slower speed, the improvisation is much more noticeably melodic, and I like how much minimalism the backbeat of the bass and drums are backing the horn solos before the piano, played by Red Garland, joins in during the second half of the song. The speed picks back up with track 3, Two Bass Hits, for some reason I can see the melodic intro and outro of this song somewhat fitting as background music in the scene of an 90s or very early 2000s anime. Unlike Dr. Jackle I actually enjoyed the Improvisation here a lot more, It's not as in your face and all over the place, but there are some melodic elements still there. Not a bad song for the side one closer. Side 2 is the golden run of this album, back to back home runs. It starts off with the albums title track, Milestones(originally called Miles). What I said about the background music in an anime applies here a lot more. This song is also one of the earliest noticeable hints showing Davis's experimentation with Model Jazz that he would later perfect on albums like Kind of Blue a year later. Moving from between G Dorian or A Aoliean. The next song, Billy Boy, is a beautiful sounding song with Red Gardland fronting in the song. Just a piano, bass and drums, no horns. The album closes with Straight No Chaser, another long song at almost 11 minutes long, which is also my favorite "long song" on this album. With each member giving time to improvise in their solos, everyone sounds remarkable. The only other similarity this album has to Saxophone Colossus, is that both albums are exactly 9 out of 10s

Listen to the album here

#music #music review #album review #album #music album #jazz #miles davis #modal jazz #1958 #bebop jazz #50s jazz

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Saxophone Colossus - Sonny Rollins (1957 Review)

My Original Review was when I was distracted playing Danganronpa Ultra Despair Girls, and trying to listen to this album while playing was a pain because the game had cutscenes EVERY FIVE SECONDS. And for some reason I didn't type a review on my relisten the following night, so here's a 9/10 Listen to the album here

#music #music review #album review #music album #album #jazz #50s jazz #hard bop #bebop jazz #saxophone

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Self-Titled - Elvis Presley (1956 Review)

Next on 10s revisited is Elvis Presley's debut album, Elvis Presley, released in 1956 on RCA Records. This would be the first rock album to sell a million copies and top the charts, spending ten weeks their at the top spot. The material on this album is a mix of Newly recorded stuff and some leftovers from sessions at Sun Records that didn't get released as singles in 1954-55. The album kicks right off with the timeless rocker Blue Suede Shoes, a song originally by Carl Perkins(Who was a good friend of Elvis), and while Carl's version is more country (Despite topping the main three genre charts at the time), Elvis's version is more energetic and ruckus showing the world what Rock and Roll was like. That's followed up by a weak track, I'm Counting on You, one of the many Ballads on this album. Also the arrangement of the tracks isn't like Gene Vincent's Blue Jean Bop where it's a rocker followed by a ballad/standard, repeat. Next is his version of I Got A Woman(Underrated song, still have not heard the original Ray Charles version) and One Sided Love Affair, which are underrated standouts from this album. Track 5, I Love You Because, is the first Sun Sessions Leftover on this album; unlike I'm Counting On You I actually liked this track and I think this is the best ballad on the whole album. And Side 1 closes with Just Because, the second Sun leftover on this album, I especially love the line "You'll laugh and call me old Santa Claus". Side 2 begins with the energetic rendition of Tutti Frutti, which is the shortest track on the album at 1:58 minutes; this is my second favorite track on the album it is incredily underrated. I thought Trying to Get To You was alright, I'm Gonna Sit Right Down and Cry(Over You) was good, another weak ballad in the form of I'll Never Let You Go (Little Darlin), A good ballad rendition of Blue Moon, here known as "Blue Moon Take 9/M", and the album closes with the bluesy tune of "Money Honey", both these tracks are 9s. Overall, a lot of underrated gems on this album, then again it was one of if not the first Rock and Roll album and the album as we know it today wouldn't be a thing until much later. 8.5/10

Listen to the album here

#music #music review #music album #album #album review #50s #50s elvis #50s music #elvis #elvis presley #rockabilly

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Chet Baker Sings - Chet Baker (1954 Review)

Had to pause the album after track 4 to mediate a bit, but anyways. Welcome to a new review series what I like to call, my 10/10s revisited, where the only reason those albums are 10s in the first place is because I was using black and white cold maths rather than what I actually feel about the song, and by going in release order of these albums we start right here in 1954 with Chet Baker's Vocal debut Chet Baker Sings. As with most vocal and general jazz albums during this era, it was a mix of standards (or in other cases original songs), and how they are executed on this album are at it's best above average attempts with a few exceptions. That Old Feeling and It's Always You do a mostly alright job at opening the album, and I Fall In Love Too Easily and Look For the Silver Lining do an excellent job at closing the album. His version of But Not For Me is a standout on this album, fucking bangs, I actually used the song for an example audo for the Sayaka Maizono AI Model I made over in AI HUB. Outside of those tracks, giving this album a relisten makes me realize how much I forgot how good some of these other tracks are, such as Time After Time and I get Along Without You Very Well, which also includes the other standout There Will Never Be Another You. But other than that this album ranges from mostly slow stuff to moderate songs. 8.2/10 This also means that my old 10/10s chart is now scrapped and this is the "new canon" Listen to the album here

#music #music review #album review #music album #album #jazz #vocal jazz #1950s #50s #50s music #chet baker

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The Velvet Underground and Nico - The Velvet Underground, Nico(1967 Review)

What can I say about the Velvet Underground and Nico that hasn't been said already? Despite not selling well initially, this album overtime became a main influence for various styles of music to follow; there's an old saying that "Whoever bought their album went out and start a band" and for good reason. The Velvet Underground was doing stuff that was unheard of in the music world at the time in the 1967. How experimental is this album you ask? Well diving into the album and it's song it becomes much clearer.

The album starts off strong with two songs, Sunday Morning and I'm Waiting For The Man; how different those tracks are may throw the listener off guard. Listeners in 1967 might've been surprised at the brash experimentation of I'm Waiting For my Man, and modern listeners probably won't get how this band is experimental right off the bat. Why it was like this is because Tom Wilson, who was one of the producers of this album, wanted another potential successful single off the album with Nico providing lead vocals, but Nico ended up providing backup instead and Lou Reed took up the lead duties. This song about paranoia is also the only song on the album that has more professional sounding production than the rest of the album. If this never happened then the album would've jumped right into I'm Waiting for the Man: a proto-punk song also fronted by Lou Reed that tells the story of his Heroin purchasing from a certain drug dealer. Keep Heroin in mind as we continue. The lyrics of the song also hint at Reed's homosexuality with lines in the Second Verse Such as, "Hey White Boy, you chasing' our women around? Oh, pardon me, sir, it's furthest from my mind.", which in itself can also mean that Reed's objective is to buy smack, which can cause Men to have a lack of sexual interest when high. The next track is Femme Fatale, the first Nico fronted song on the album that has a more laid back pop sound in the same vain as, but not as lush and dreamy, as Sunday Morning. The Lyrics tell the story of Edie Sedgwick, an infamous Warhol Star who had an enchanting allure to her seductive nature, which was only climaxed by her death of a drug overdose at 28 years old.

Track 4, Venus in Furs, is a droning song that could almost be proto-gothic rock. The Droning nature of the song comes from what's called Ostrich Tunning, where Lou Reed tuned all of his strings to E. The Lyrics however, get much darker and deeper. This song and the title is based on 1870 novella of the same name by author Leopold von Sacher-Masoch. Both the Song and Novella talk about topics relating to sexual masochism, the song especially celebrating it out in the open, which was a bold move and thus challenged conventions at the time about songwriting. Track 5, Run Run Run, is an electric folk song that tells a tale about how four characters are seeking or engaging in acts of drug use. Teenage Mary sells her soul to try and be saved but still gets invested in drug use anyway. Margret Passion experiences a series of withdrawals as a drug addict stops using their drugs for a longer period of time. Seasick Sarah cocaine dealt and overdosed, and Beardless Harry is a trans male(hence his name),who's life ends after he couldn't get a single hit. Track 6, All Tomorrow's Parties, a 7 minute droning song that's the second song on this album that's fronted by Nico. This song tells about a nursery rhyme character named Thursday's Child, from the story Monday's Child. They are described as having "far to go", meaning she is a lost soul and before being happy she has much to encounter. This also ends Side 1.

Side 2 begins with Track 7, another proto-punk tune, once again about Heroin, Lou Reed describes the effects of the titular drug, with each verse getting more energetic as they progress, culminating to the end when the energy builds up so much it's the equivalent of an overdose. Track 8, There She Goes Again, is one of the more typical 60s Garage Rock sounding songs of the album, with the song describing a prostitute who is steadfast in her profession. Track 9, I'll Be Your Mirror, is the third and final track Nico appears on; it's also the shortest track on the album at just above two minutes long. This song is about a person who sees the beauty possessed by a loved one and wishes to share that beauty with them. Fun Fact this song was not written for Nico originally, Lou Reed wrote it before they even met, but Warhol requested Nico to sing it on the record and Lou Reed reluctantly allowed her.

Track 10, The Black Angel's Death, is the only track on the album where I don't think is perfect, but it almost is. This is a song that has more meaning in the context of other songs on the album, as this is another song that signifies that Lou Reed presents topics such as Drugs and Prostitution in a matter of fact way. One thing about this song that's upfront is the viola shrills done by John Cale, especially in the song's outro. The band would often play this song live much MUCH longer then what we hear on the record, however it wasn't a favorite at clubs. One time, when the band was told by a manager to not play the song again, they responded by playing it anyway with a "furious vengeance", the band were sacked anyway- I guess it was worth it. And the final track, track 11, European Son, really puts the Avant-Garde into the Avant-Garde of this album. This song is dedicated to Delmore Schwartz, who was Reed's teacher at Syracuse University. Apparently Delmore despised songs with words, especially rock and roll lyrics, so this big instrumental closer was dedicated to him. The sounds of this musique concrete composition were meticulously rehearsed, paying close attention to detail, with sounds ranging from Lou Reed scrapping a chair across the floor to John Cale smashing a pile of aluminum dishes. Ending the album

To say this album changed everything would be an understatement. This album is pretty much the ground zero for any alternative, experimental or indie genre to come after. Punk, dream pop, jangle, noise rock, post punk, the list goes on. The musician ship on this album as well as the lyrics and song topics on this album were unheard of in 1967. Basically put, if this album or band never happened, what would modern music be like today? 10

Listen to the album here

#music #album #music album #studio album #album review #review #music review #1960s #60s #60s music #60s rock #psychedelic rock #the velvet underground #lou reed #nico

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Yes - Yes (1969 Review)

Once again another revisit to an album that I have heard before I started reviewing, this time the debut studio album by English Prog Rock band Yes. While we did see hits of it in earlier years, 1969 is typically considered the ground zero for progressive rock music. King Crimson released their debut album, Pink Floyd released Ummagumma, and of course Yes released their first album also in this year. This is my overall third time listening to the album in full, I have more attempts to listen to this album than finishing it. This isn't necessary to talk about but there is different album covers, the UK cover with the orange "YES!" text bubble is the one that appears on the streaming version of the Deluxe edition, and the US album cover featuring the band in front of some architecture is the base edition cover on streaming. The album starts off pretty strong, with Beyond and Before followed by their cover of the Byrds song I See You, the ladder blows the original version out of the water, a six minute monster of a song that adds improvisation and jazz elements. Yesterday and Today is a sweet acoustic song that's placed as the next song to help the listener calm down a bit before going into the next two songs, Looking Around and Harold Land. As tracks 4 and 5, I love the Organ(s) in these two songs, it makes them sound like they can fit in a Game Boy Advance game from the Early 2000s. Track 6 is another cover, this time Every Little Thing by the Beatles: It's been a while since I heard the original song, but this cover version is solidly alright. My least favorite track on the album comes in the form of track 7, Sweetness, but then the final track Survival is another 6 minute song though not as memorable as I See You. Overall, solid debut album by one of the prog rock icons.

8.9/10

Listen to the album here

#yes #yes band #prog rock #music #music review #album review #60s rock #classic rock

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The Golden Cups Album/ザ・ゴールデン・カップス・アルバム（1968 Review)

Much like rock and roll music in 1950s United States, Japanese Rock music in the 1960s, then called Group Sounds(グループサウンズ), was mostly a singles market, and because of that the albums that were released were mostly filled with covers and barely any original material. The Golden Cups album is a good example of this. Formed in 1966 and disbanding in 1972, the psychedelic sounds of The Golden Cups would make them one of the more popular bands during the Group Sounds boom in late 60s Japan, and they would record their first album in 1968, which is what this review is gonna be on. For one the Original tracks, if barely there are, are some of the best highlights on this album. The tracks that bookend the album, Jezebel and Hiwa Mata Noboru(which was also released as a single), do a great job at beginning and ending the album with their contrasting styles; the ladder especially is a contender for Japanese Proto-Punk. The other Original Tracks, Love is my Live and LSD Blues, are good and above average respectively. As for the covers, they're all pretty forgettable with the exception of their cover of Hey Joe, a 5 minute fast epic that gets really slow in the middle, plus ear-piercing war sounding guitars. That being said, props to the singer's pronunciation of the English Lyrics sounding more Passable than just Engrish Will I listen to this album on repeat, no other than the tracks I like 7.4/10

Listen to the album here

#music #music review #album #rock music #1960s #album review #music album #japanese music #japan #60s rock #psychedelic rock

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Bathory - Bathory(1984 Review)

Bathory is the self titled debut album by Swedish Metal Band Bathory. The band was formed in 1983 by a guy named Tomas Forsberg, or his stage name Quorthon, and the band would first appear on the Scandinavian Metal Attack Compilation, released on a label owned by his father, with their songs "Sacrifice" and "The Return of Darkness and Evil". When the album released, listeners were curious about this Bathory band and wanted more of them; and so throughout 1984 Bathory would record material for what was to become their first album, with sessions being held in a garage-turned studio. Keep in mind that we barely have any info on the other "members" in the band that appear in the liner notes. The album would release in Early October of 1984 clocking it at a fast 27 minutes, a mix of dark speed and thrash metal, even some hardcore punk elements as well, and influence wise this would make Bathory a majorly important band in the first wave of Black Metal. The intro(Storm of Damnation), helps to introduce the dark atmosphere of the album with the ambient sound of winds and faint chimes, perfectly leading into the first song(Hades), a song about the greek god of hell that throws the listener into the dark fast satanic ride this album is. Reaper is a song from the perspective of a rapist who torments a women, Necromansy(yes misspelled) talks about a ritual, and yes this was the song that inspired Burzum's War. Sacrifice, the song that got me into the band, is fast as fuck and describes wanting to stab Mary Mother of Christ and sacrifice her to Satan, the guitar solo is fast but it's not too hard to learn, this also ends Side 1. Side 2 begins with my least favorite song on the album, In Conspiracy with Satan, it's just a B5 chord on repeat for most of the song. Armageddon has a cool guitar solo, Raise the Dead is a groovy song about dead raising from hell, and the final song War talks about a war between good and evil, And then a dark cool outro. 9.6/10

Listen to the album here

#music #album #album review #music album #music review #black metal #metal #bathory #quorthon

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Blue Blood - X Japan/ブルー・ブラッド - エックス・ジャパン (1989 Review)

This was another Japanese album I been wanting to check out. Blue Blood is the 1989 softmore effor of Japenese heavy metal band X Japan, known formerly and natively as just X. Their musical style is a mix of Speed Metal, Power Metal, and sometimes even Symphonic elements. At the same time their visual appearance would also pioneer a significant movement in Japanese music known as "Visual Kei", which is basically Japanese Glam Rock and has since evolved into it's own little fashion subculture over there. Now onto the album proper, I might've overhyped myself with this album a bit. Not to say there isn't any bad tracks on here though: the title track Blue Blood, Kurenai, Orgasm, and the closing track Unfinished are all nice fast melodic pieces of metal music; but the best track on this album has GOT TO BE the grand epic 12 minute song that penultimates the album, Rose of Pain; it literally puts the symphonic metal into this album. However there are some weak tracks on here, such as Easy Fight Rambling and the weakest of all being X, Celebrations is also down here in the ranking, it's literally just two short unrelated instrumentals slapped together into one. And the Big Ballad off of this album, Endless Rain, as well as the Opening track, are middle of the road. 8.3/10

Listen to the album here

#music #music review #japan #japanese #japanese metal #album #album review #music album #visual kei #x japan

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Bon Voyage Co. - Haroumi Hosono/泰安洋行 - 細野晴臣 (1976 Review)

Haroumi Hosono's third studio album, again exploring the world of Tropical and Exotica music with hints of electronic elements. I actually enjoyed this album a lot more than Tropical Dandy; the album does start off weak unfortunately, and much like the self-titled New Edition album the opening track is the weakest here. It does take a while to get to the good stuff, but when it hits IT HITS. Tokyo Shyness Boy is a great song with a nice brassy groove to it, and the title track is a beautiful instrumental jam with wonderful sounding Marimbas. The closing track as well I really enjoyed, Exotica Lullaby, even though it's not a lullaby at all, however the outro made me bump up the song in my ranking a bit. Loved the vibe here more than Tropical Dandy, even though the album was much Bottom Heavy then it was top heavy Decent 8/10

Listen to the album here

#music #music reviwe #album review #music album #album #japanese music #japan #jpop #tropical

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Tropical Dandy - Haroumi Hosono/トロピカル・ダンディ - 細野晴臣 (1975 Review)

Finally getting around to listen to this album as I'm listening to more albums on my computer as of late. Not to mention this album isn't on Spotify yet somehow auto-generated on Youtube, weird. Anyways, for those not in the know, Haroumi Hosono is a Japanese Musician known for playing a pivotal role in the history of Japanese Popular music, or J-pop for short. From his folk rock era with Apryl Fool and Happy End, to his exotica infused solo career, to completely changing Electronic Music with Yellow Magic Orchestra, he has remained an important figure head in the native popular music scene. However, in the mid-70s, Hosono wasn't that well known in the mainstream at the time, still being an underground musician. This album in particular is his second album following the 1973 debut Hosono House, this album explores more of the tropical vibes the first album offered, though Hosono House is more Folk/Country. Now Tropical Dandy is enjoyable at best. The opening cover of Chattanooga Choo Choo has a catchy feel to it, Hurricane Dorothy is okay, Silk Road is forgettable and even saying that feels like an understatement, Tropical Night is a relaxing slow vibe, Peking duck is a solid above-mid track, Honey Moon is bland though not as forgettable as Silk Road, and Three o Clock Lullaby is a relaxing way to end the album, though the instrumental version that's the next track perfects it with the strings. Light 8/10 *Listen to the album here*

#music #album review #japanese #japan #japanese music #exotica #jpop #japanese pop #haroumi hosono #tropical music #review #music review

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Within the Realms of the Dying Sun - Dead Can Dance (1987 Review)

Finally decided to start getting into a new style of music, Neoclassical Darkwave, and used this as my jumping point as it was the highest rated album of the genre on RYM. Overall I enjoyed this album, this album fucking nailed it production wise, with the reverb helping to create the ambient atmosphere, and generally speaking this is my first listen of anything relating to classical music since the last time I got back into Bach a few months back. But as for the songs themselves, it's almost perfect, half of the tracks are perfect, two other 9s, a 7 which is the shortest track on the album, and a 6 with is the closer that drags on for too long. Solid album, might give it a replay 8.9/10 Listen Here

#dead can dance #80s music #darkwave #neoclassical #neoclassical darkwave #album review #music review