so a little then?

Well, I like gothic imagery in movies, video games, etc., but I've never dressed or wanted to dress like a goth, I've never gone to the mall to hang out, I have varied musical tastes including grunge, hair bands, and new wave, and again, not a girl. So I guess draw your own conclusions.

This passes as variety these days?

It's variety compared to a stereotypical goth, I would think. It wasn't meant to encompass everything I like, though. I like Creedence Clearwater Revival, Electric Light Orchestra, 80's and 90's Madonna, Queensryche, Nine Inch Nails, Pat Benatar, James Horner, Shania Twain, Evanescence...

All by Paul McCartney

McCartney
9/10

Ram
8.9/10

Band on the Run
9.1/10

Venus and Mars
8.4/10

Flaming Pie
8.8/10

Florence and The Machine - Ceremonials

I found a couple more songs to like alongside "Shake It Out". Not a consistent album, but that's not exactly surprising in my case, given the influence soul has on it.

6/10

Porcupine Tree - In Absentia

The first track, "Blackest Eyes", was a pretty good rock song. Most of the rest, though, was drifting, drippy, emotionally muted stuff, like something I would play while hanging crystals or aligning my chakra (if those were things I did) instead of something to listen to. Granted, that's at best ironic and at worst unfair since I've been known to like New Age, but it's how it sounds to me.

"Wedding Nails" started out good, but then it spent over a minute repeating the same four notes with ambient sounds, until I wanted to yell at the song to do something already. Then there were some more ambient sounds. It also doesn't help that the album cover is really offputting. It's my least favorite cover of the albums I've rated, with Evanescence probably being the best.

5/10

Keep in mind that I generally go easier on artists than I do on albums, because an album is a consumer product, a collection of songs that needs to be judged as a whole, while the artists are people providing me with music to take or leave. So I would give Florence and The Machine a 7/10 so far. Porcupine Tree is really pushing it with one decent song out of a full album; I'd give them a 6/10 from what I've heard.

Radiohead to come.

You didn't like Trains? Trains > Blackest Eyes, and basically every song Porcupine Tree has written.

What the hell is that supposed to mean?

I like soul music here and there, but not with any real consistency, so it's not surprising that an album with a heavy soul influence would have similar results.

Some of the people this site lures in, man. Tragic.

i think it's good that people come around whose music taste's a tad different. At least Fincher isn't a classic rock only sort of person.

Fincher, what would you say are your favorite albums ?

I don't have an organized list. That's something I'd like to do eventually, but it would be a pretty big undertaking since I haven't always even rated them. Some favorites that always come to mind are Live - Throwing Copper, Queensryche - Operation: Mindcrime, and Guns N' Roses - Appetite for Destruction and Use Your Illusion I and II. But then there's also the first few Cranberries albums, Queensryche - Promised Land, Pink Floyd - The Wall, Belinda Carlisle - Runaway Horses, REM - Automatic For the People, and so on.

Frank Sinatra - In the Wee Small Hours

Standards, Vocal Jazz



The only Frank Sinatra I had really heard before this was the major songs that everybody knows. I never really pictured him as an album artist, but In the Wee Small Hours proved me wrong. Age has done wonders for his voice; his croons are less ballroom and more bar, which fit the lyrical content admirably. He had sang about heartache before, but he didn't really sound like he meant it until now. Indeed, this was after his 15 minutes of fame were up, encapsulated in “I'll Never Be the Same” with “I'll never be the same/stars have lost their meaning for me.” The stars here could literally be taken as the people Sinatra associated with during his biggest years.

The most impressive thing about In the Wee Small Hours is the use of negative space, which is something one wouldn't expect from a standards album. There are times where Sinatra and the music pause briefly that are spellbinding and the silence nearly says just as much as the music and lyrics. However, by the end of the album the technique gets overused and it becomes predictable, but early on the approach makes the album.

This is a defeated work of art, and in a way it made room for Tom Waits's drunken poetry some 20 years later. Yet, it doesn't revel in its own misery, it nearly drowns in it. Every song is under the four minute mark, yet some still manage to outstay their welcome, particularly in the third quarter. The brilliantly titled “Last Night When We Were Young” manages to break the monotony with a huge climax that is more akin to something from Jacques Brel than Frank Sinatra. Afterward, the album, quiet and unnoticed, fades out over six forgettable songs. This might simply be a stylistic choice as you can nearly see the rising sun starting to fill in the lines under this heartbroken drunkard's eyes, but then again that's not something very pleasant to watch.

i luv that album. anywho, not an album but...an earworm that attacked me today...
http://www.youtube.com/watch?v=J9gKyRmic20

but in afterthought
http://grooveshark.com/#!/album/Come+Fly+With+Me/148707
and
http://grooveshark.com/#!/album/The+Com ... ngs/423025 possibly one of the greatest links ever =]
and
http://grooveshark.com/#!/album/Frank+S ... ely/509786 (http://grooveshark.com/s/Angel+Eyes/4LHuU3 ... i luv stuff like this)

do you like Dream Theater ?