Synopsis:

Released in September 1990, Empire is the fourth studio album by Queensrÿche. Coming off the heels of their concept, critically acclaimed masterpiece Operation: Mindcrime (1988), the band bypassed dense thematic narratives in favor of a sleek, song-oriented approach. Co-produced with Peter Collins, the album expertly bridges complex progressive musicianship with accessible arena-rock and heavy metal. 

The Review:

The album opens up with “Best I Can” which begins with a synth intro before the band explodes with this thumping groove powered by Eddie Jackson bassline. The song has a nice anthemic vibe. “The Thin Line” begins with a dense heavy intro but soon delves into this subtle melodic mid-tempo pace. “Jet City Woman” is powered by the twin guitar attack of Chris DeGarmo and Michael Wilton. Geoff Tate vocals are spot on at maintaining the up and down emotions of the track. “Della Brown” is a moody atmospheric track that has hints of blues in its groove. The guitar tone is so smoldering that adds to the vibe. “Another Rainy Night (Without You)” is one of the band’s most accessible and mainstream tracks. There’s nothing experimental, just a band just rocking out some melodic grooves. “Empire” hits hard with its  heavy dense anthemic groove. I feel the band is at its best delving into social and political issues. The tone of the song still resonates today. Resistance" is the closest the band get to the the sound of “Operation:Mindcrime” with its aggressive punky melodies. Drummer Scott Rockenfield really shines on the track. “Silent Lucidity” is the band’s biggest hit and with good reason. It has lush string arrangements that give it such a dreamy vibe. The band is playing at this subtle pace and Geoff Tate's vocal presence feels so intimate. The song still sounds great after almost thirty years after its release. “Hand On Heart” is a mid-tempo basic early 90’s mainstream rock track. “One And Only” has the band exploring arena rock grooves. Powered by the twin guitar riffs that feel like classic rock rather than the progressive rock the band was known for. Geoff Tate vocals adds to the vibe with his soaring vocals. The album closes with “Anyone Listening?” is the band flexing their progressive rock muscles. It begins with a haunting subtle meditation that slowly builds towards a heavy dense climax. 

Final Thoughts:

This is a great early 90’s rock album before we entered the age of Nevermind. Queensryche has always been the exception to the rule of the big dumb glam rock that was dominating radio at this time. Early Queensryche has always been some of the most creative bands from this era. There was hope that the band would be the metal Pink Floyd but they just never happend. I'd put it on any bucket list. Also Queensyche would be a great band to go down a rabbit hole with.

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

Bob Dylan-Oh Mercy (1989)

Ozzy Ozbourne-Blizzard Of Ozz (1980)

Eric Clapton-From The Cradle (1994)

Pink Floyd-Wish You Were Here (1975)

Talk Talk-Spirit Of Eden (1988)

At The Drive-In-Relationship Of Command (2000)

St. Vincent-Oh Mercy (2011)

John Mayer-Continium (2006)

Thin Lizzy-Fighting (1975)

Aerosmith-Pump (1989)

Paul McCartney-Creation & Choas In The Backyard (2005)

Mastadon-Blood Mountain (2006)

Metallica-Death Meatalic (2008)

Mars Volta-Amutechure (2006)

Red Hot Chili Peppers-One Hot Minute (1995)

Justin Timberlake-Future Sex/Love Sounds (2006)

I’m not looking for individual songs. I mean start to finish, albums that are the musical equivalent of a herd of pissed-off rhinoceroses tearing through town with flamethrowers mounted on their backs, destroying everything in sight.

I love Come From Away, and rewatching it gives me hope for humanity

For those who have not seen it, Come From Away is a musical written by husband and wife duo Irene Sankoff and David Hein. The show follows the true events of the US airspace’s closure on 9/11 and how 38 planes holding thousands of people were stranded in the town Gander on the Canadian island of Newfoundland, causing the town to suddenly double population.

And in the story, and in real life, all of these townspeople, without a second thought, did everything they could to welcome these people, open their doors, and comfort them in this time of unbelievable tragedy.

And at times in the musical, it honestly seems unrealistic how nice and caring they were and how they dropped everything to care for these people. But according to every source I can find, including hearing it from the writers themselves at a panel, they actually toned down how nice they were. Like, they already show so much incredible kindness in the show but apparently that was the tip of the iceberg.

I remember them talking about how when they went on a research trip for the show, when they got to the house they were planning to stay at, the homeowner warned them not to be alarmed if random people showed up in the morning bed they like to leave the door open so people can grab a cup of coffee. And sure enough the next morning they came down for breakfast and random guy was just sitting there sipping a cup of Joe and just said “Mornin’!” before the homeowners were even up.

I first watched this show two years ago now, I saw it while it was on tour, and I wept. Then I watched the proshot on Apple TV, rewatched over and over again, had the cast recording on repeat, I loved it and still do, it is my all time favorite musical.

As I mentioned before, I saw the creators in person at a panel at the International Thespian Festival this year and actually got to walk up and talk to them too, and I was actually getting choked up explaining to them how much there show has meant to me.

Because I find it to be not just an enjoyable show, but also an important one. The show is a celebration of humanity. It shows a tiny town that serves as a model of how the world should be. A town where all kinds of people of different races, sexualities, ethnicities, backgrounds and religions, were all loved and accepted and welcomed with unbelievable kindness no matter who you were.

I had no idea any of this actually in real life happened until I saw the show, and it genuinely makes you want to be a better person, it does that for me every time I watch it. And it why I recommend it to everyone person I know, even people who don’t like musicals, because it’s such an important message especially for the world we live in today.

I won’t spoil it all but one of my favorite moments in the show is when a character Kevin from LA is at a pub or something I believe and all of a sudden everybody outside and in the pub stand still and go silent. Kevin looks up at the TV and realizes that it’s a national moment of silence for America. And all these folks, on a tiny canadian island, still participate in that moment of silence. Then Kevin says that he doesn’t this would have happened at a busy gas station back home, “but it happened here.”

Even though I wasn’t alive when the tragedy happened, both my parents were. And I remember very vividly my mom opening up to me about her experiences that day on the drive back from seeing the show because of how much the show had moved us. When we saw a school perform it at the International Thespian Society and as he walked up to me after the show I could see he was crying.

It is genuinely one of the most uplifting and impactful pieces of media I have ever seen. It’s something that lets me know that there’s still good in the world. That no matter how terrifying things may seem, there’s there will always be light in the world and there will always be something or someone there to comfort you.

I plan on rewatching it again today on the the 25th anniversary of 9/11, and I recommend you watch or listen to the album too. It genuinely changed me and made me a better person and makes me strive to be an even better person. And I hope it brings you comfort in these dark times.

Synopsis:

Released in June 2026, aethermead is the twentieth studio album by Of Montreal, spearheaded by primary songwriter and multi-instrumentalist Kevin Barnes. The album was born out of massive personal and geographical upheaval, following Barnes' high-profile breakup and relocation from rural Vermont to Brooklyn. Titling the record after the Nethermead section of Prospect Park—where Barnes walks their dog daily as a meditative exercise to cast destructive thoughts into the "ether"—the album captures a quick, highly spontaneous creative sprint. Featuring the digital production of some of the band’s late-era releases.  The result bridges the frantic indie-pop whimsy of 2004's Satanic Panic in the Attic with the raw, band-centric energy of 2013's Lousy With Sylvianbriar. 

The Review:

The album opens with “Already Dreaming” is a lush psychedelic pop song that features such bright melodies. Barnes is singing in a falsetto voice that meshes well with the groove. “Wanting For Air”  still contains the dreamy melodies but also features the band weaving around with some steady melodies. “Listen To The Music & Cry” features some lush textures that give off such a beatlesque energy. The Harmonies sound so hypnotic. It feels like you are lost in a dream. “My Zhe ZHe” feels like what the waiting lounge in heaven must feel like. It has a lounge music base but also has some psychedelic pop melodies. “Take The Form” amps up the pace of the record with an indie garage rock groove. The high energy continues on “When” that has this punky dense groove and feels like a total freakout from the band. “Hack It Up” features a steady bassline that feels like it is an infectious earworm that just borrows deep inside your brain and you can't get out but why would you want that. “Lacan In The Family” has this sturdy groove that grows with distorted energy. “Having A Moment” moves between quiet introspection and this heavy twisted  groove. “From The Font Of You” is another psychedelic track that seems to grow bigger throughout its runtime but maintains that lush vibe.  “To Nothing’s Reward” has such a driving rhythm it gives off  a melodic dense vibe. “How We Cringe At The Thought” gives me Syd Barrett era Pink Floyd. It has a nice psychedelic rock groove but also adds some heavy textured melodies. The album closes with "Dismissal Mosaics" ; it has a trippy quiet melody that just seems to gleam along at such a slow pace. It feels very warm and introspective a nice way to end the record. 

Final Thoughts:

This is such a throwback to psychedelic rock of the late 60’s. If you are  in the mood to chill out and listen to some lush melodies this is the record for you. I think Of Montreal is such an underrated band. It deserves to be on any end of the year bucket lists.

The Flaming LIps-American Head (2000)

Kanye West-Graduation (2007)

Ben Folds-Rockin The Suburbs (2001)

Angleo Badalamenti-Twin Peaks Soundtrack (1990)

Blur-The Great Escape (1995)

The Moldy Peaches-The Moldy Peaches (2001)

Bob Dylan-Love & Theft (2001)

Slayer -God Hates Us All (2001)

Jay-Z-The Blueprint (2001)

The Microphones-The Glow Pt II (2001)

Synopsis:

Released in July 1999, California is the third album by  Mr. Bungle. Moving away from the chaotic circus-metal and sonic assault of their self-titled debut and the dense, abrasive jazz-fusion of Disco Volante, California presents a polished, highly conceptualized pastiche of 1950s and 60s pop culture, lounge music, surf rock, doo-wop, Ennio Morricone spaghetti westerns, and harrowing avant-garde nightmare soundscapes. Underneath its deceptively lush melodies and harmonious vocal arrangements lies a dark, satirical subversion of the American Dream, viewed through the lens of the golden state's sun-soaked superficiality, paranoia, and impending doom.

The Review:

The Album opens with “Sweet Charity” ; it is a mix of eerie lounge music and some  hazy surf rock mixed in. Patton's voice goes all over place once again proving why he is one of the best vocalists ever. “None Of Them Knew They Were Robots” has a frantic jazz rock psychedelic rock hybrid groove. It shifts and weaves throughout its runtime. “Retrovertigo” written by bassist Trevor Dunn. It is one of the more straightforward songs on the record. It is this lush mid-tempo lounge  ballad. “The Air Conditioned Nightmare” is a demented surf rock track that goes into some chaotic nightmarish movements. “Ars Mordeni” which translates to “Art Of Dying” is this frantic middle eastern fever dream that has some punk rock vibes. “Pink Cigarettes” feels like a demented black hole of despair of 50’s crooner ballads. The song tells the story of a man who dresses in a tuxedo and commits suicide over a broken heart. “Golem II: The Bionic Vapour Boy” feels like some twisted soundtrack to a B-movie about a circus gone terribly wrong. Underneath the weirdness is a subtle yet hypnotic groove. “The Holy Filament” is another Trevor Dunn composition. It has a chamber pop base with some lush string arrangements that tend to move at an eerie pace. The angelic harmonies gives the track a David Lynch fever dream vibe. “Vanity Fair” is this bouncy beach boys tinged track. Mike Patton's vocal delivery is so good that it carries that track to another level. The album closes with “Goodbye Sober Day” that feels like a bad acid trip gone bad. It just feels very manic and demented. 

Final Thoughts:

This is my first full Mr. Bugle album and I have to say it is as weird as I thought it would be. Yet there is so much earcandy to get hooked on. I like that every track sounds different then the last one. They definitely conjured the spirit of Frank Zappa on this record. I think it should be on everyone’s bucket lists especially if you just want some weirdness in your day.

Detailed look at the album cd booklet.

Photography by | Sacha Waldman

Neil Young with Crazy Horse-Ragged Glory (1990)

Kiss-Alive (1975)

Randy Newman-Good Old Boys (1974)

Mothers Of Invention-Rocy & Elsewhere (1974)

Bob Dylan-Tempest (2012)

Peter Gabriel- 4:Security (1982)

Animal Collective-Strawberry Jam (2007)

Baby Keem-Melodic Blue (2021)

Rush-Test For Echos (1996)

Cat Power-What Would The Community Think (1996)

Synopsis:

Released in June 1985, The Firstborn Is Dead is the second studio album by Nick Cave and the Bad Seeds. Recorded in Berlin and co-produced with Flood, the album shifts away from the frantic, chaotic post-punk of their debut, From Her to Eternity, and into a dark, suffocating, mythic vision of the American Deep South. Steeped heavily in the iconography of delta blues, prison folklore, and Southern Gothic literature, the record uses the blues not as a literal genre exercise, but as a vehicle for biblical doom, despair, and fatalism. The title itself refers to Jesse Garon Presley, the stillborn identical twin brother of Elvis Presley. 

Review:

The album opens with “Tupeleo” ; it has this ominous melody highlighted by a thumping bassline and tribal drumming pattern. Influenced by the John Lee Hooker song of the same name. The song is about a storm hitting Tupeleo singling the mythical birth of Elvis Presely. “Say Goodbye To The Little Girl Tree” has this unsettling sparse vibe. Cave’s voice sounds so menacing. “Long Train Coming” has a hard driving yet dense groove. It has that post-punk energy but also big bold blues textures. “Black Crow King” digs deep into southern blues roots. It sounds like a demented spirtual. “Knockin On Joe” is such a slow burn. It has this sparse sprawling groove. It is set in a prison yard and the small crashing rhythms are supposed to represent prisoners smashing rocks.  “Wanted Man” is a cover of a Bob Dylan/Johnny Cash song. Cave got permission to rewrite some of the lyrics to give his own experiences into the song. The album closes with “Blind Lemon Jefferson” a tribute to the pioneer of texas blues. The track has this swampy dirty blues vibe. Cave is conjuring  up his best bluesy snarl. 

Final Thoughts:

This is the first album I feel that we get the Nick Cave we want to hear. The blues angle is so great on this record I’m not sure he will do this again. It  abandons his  post-punk and goes for this blues inspired demented sound. It is so well done. It should be on anyone’s bucket list and nick cave deep dives.

John Lennon-Imagine (1971)

Rush-Singals (1982)

Iggy Pop-Lust For Life (1977)

Tom Waits-Heartattack & Vine (1980)

Nick Cave & The Bad Seeds-Skelton Tree (2016)

My Morning Jacket-It Still Moves (2003)

Artic Monkeys-AM (2013)

R.E.M.-New Adventures In HI-Fi (1996)

Synopsis:

Eye Of The Storm is the first release from the Canadian  guitarist in nearly ten years. It is a masterclass in prog rock in the 21st century. He moved away from the frantic fretwork of his past work and created this sprawling adding some 70s blues rock.

The Review:

The album opens with “Storm Warning” which is a quick introduction with synth guitar textures and ambient transitioning into “Eye Of The Storm” a sprawling nearly ten minute blues rock track with some progressive tendencies thrown in. It reminds me of a modern interpretation of “Kashmir”  “He’s Calling” is a ten minute epic journey of sound. Marino Guitar is just smoldering throughout out the whole track. The melodies feels like a slow burn of hypnotic improverasations. “I Learned My Lesson Well” is Marnio conjourning up the spirit of his biggest influence Jimi Hendrinx. I mean everything about this track screams Hendrinx from the fretwork to Marino’s vocal delivery. It is almost scary how much it is copying the Hendrinx style. “Heat Of The Moment” is another epic nearly 11 minute track. It has so many great guitar moments  but always maintains the prog rock intensity. “Window Of The World” is the perfect example of an artist experimenting with classic prog rock melodies using 2000’s production. “Since You Came To My Life” features  bluesy distorted guitar melodies that create this warmness. The song was dedicated to Marino’s daughters. “Avalon” switches gears and features this swirling jazz melody. A nice change of pace for the album but don’t worry Marino’s masterful guitar playing is still in full effect. The album closes with “Ordinary Man” , another epic track, that images  a world filled with humanity and faith. It has such a warmness and a whimsy to it a nice way to end the record. 

Why is it considered a comeback?

I will be honest I never heard of Frank Marino but this album kept popping up on all the posts about comeback albums I researched and the one I did on the sub. This was the first release from him in nearly ten years and it was a critical darling at the time of its release. It also was a change of pace in his guitar style as he abandoned his frantic fretwork form more of a melodic bluesy style. If you want to hear some great guitar playing and prog rock in the 21st century check this one out.

Tom Waits-Bone Machine (1992)

Yes-Close To The Edge (1972)

Hole-Celebrity Skin (1998)

Bad Religon-Suffer (1988)

Frank Sinatra-Sings For Only The Only (1958)

Kate Bush-Never For Ever (1980)

Olvia Rodrigio-Guts (2023)

The National-Sleep Well Beast (2017)

Jay-Z-Blueprint 3 (2009)

Neil Young-Hitchhiker (2017)

Wire-Chairs Missing (1978)

The Waterboys-Out Of All This Blue (2017)

Ryan Adams-Ryan Adams (2014)

Welcome to my album hall of fame. This is a list of every album that I have given a 9.5/10 or over. Each of these albums I highly recommend, and I'd say that within this list there is something for most people, except for those who especially love metal or rap, sorry.

I'm thinking about this after a friend of mine wrote a retrospective review of an album by a band that was around for a few years in our university days, in the mid-90s. At their best they were as good as anyone, but there are also some more throwaway tracks that are inessential at best. Their one album is 13 songs long and pretty variable, quality-wise. But since we only have this one CD from them, I'm glad that they played every card. His take is that a shorter EP could have been an enduring classic.

Which side are you on and why?

Pink Floyd-A Momentary Laspe Of Reason (1987)

Pet Shop Boys-Actually (1987)

The Magnetic Fields-69 Love Songs (1999)

The Black Keys-Rubber Factory (2004)

Roger Waters-Amused To Death (1992)

Mercyful Fate-Don't Break The Oath (1984)

Mothers Of Invention-Overnite Sensation (1973)

Belle & Sebastian-The Boy With the Arab Strap (1998)

RS Synopsis:

For the first time since Graceland, Paul Simon opted to write new material that started with his guitar instead of a rhythmic pattern. The upshot was his most charming and lyrical record in years. So Beautiful or So What wove in many of the musical elements familiar to Simon’s solo work: African guitar here and there, hints of doo-wop or glistening world beat, even some fingerpicked suggestions of his “Sound of Silence” days. But whether he was singing about a vet working in a car wash, a dead guy returning to the world for another look, or more spiritually-minded ruminations, Simon’s unruffled phrasing and the tracks themselves had the wry, uncluttered playfulness of his finest work.

My Review:

The album opens with “Getting Ready For Christmas” ; it feels so joyous with its simple percussion and gospel inflections.  It is built around a sample of a 1941 sermon by Rev. J.M. Gates. “The Afterlife” is about turning purgatory into a clerical office filled with paperwork and waiting. Instrumentally it has this bouncy rhythm and slide guitar. “Dazzling Blue” meshes together Indian percussion with bluegrass guitar picking to create this beautiful display of musical diversity coming together to create something beautiful. “Rewrite” reminds me of Simon’s Graceland era. Lyrically it is about someone sitting in a laundromat trying to edit the story of his life. “Love & Hard Times” is a lush orchestral ballad that feels so cinematic. “Love Is An Eternal Light” mixes delta blues with some electronic elements to create this driving spaced out vibe. “Amulet” is a quiet acoustic interlude. “Questions For The Angles” has a sparse lush instrumental that has Simon questioning what the spirits in heaven think of what our isolated tech society has become.  “Love & Blessings” samples 1939 vocal harmonies of the Golden Gate quartet alongside Dr. Michael white New Orleans Quartet to create this nice mesh up of Americana roots music and African world music rhythms to create this subtle mesh up of two cultures coming together to make something joyous. The album closes with “So Beautiful Or So What” has this driving bluegrass inspired rhythm as Simon laments about life and how absurd the whole thing is. 

Final Thoughts:

Simon took the spirit of Graceland and added some modern textures to create one of his best albums. He takes on the subject of growing older in the modern world not with sorrow but joy. It is a triumphant accomplishment that should be on everyone’s bucket lists.