#selftitled — Public Fediverse posts

https://www.europesays.com/hu/77626/ Index – Kultúr – Felmosta velünk a padlót legújabb albumával a friss Grammy-díjas énekesnő #brandy #Entertainment #GrammyDíj #HU #Hungarian #Hungary #kehlani #kultúr #LilWayne #Magyar #Magyarország #MissyElliott #SelfTitled #Szórakozás #újAlbum #usher

"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E

"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E

"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E

"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E

"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E

My New Band Believe – «Self-Titled»: Teatro de los sueños | vía #ZumbidoCL

https://zumbido.cl/my-new-band-believe-self-titled-teatro-de-los-suenos/

#albumreview #chamberfolk #folkprogresivo #mynewbandbelieve #selftitled

My New Band Believe – «Self-Titled»: Teatro de los sueños | vía #ZumbidoCL

https://zumbido.cl/my-new-band-believe-self-titled-teatro-de-los-suenos/

#albumreview #chamberfolk #folkprogresivo #mynewbandbelieve #selftitled

"Got to Be Real" is a song by American singer #CherylLynn from her 1978 #selftitled debut studio album. The song, which was released in August 1978 as Lynn's debut #single, was written by Lynn, #DavidPaich and #DavidFoster.
https://www.youtube.com/watch?v=fI569nw0YUQ

"Got to Be Real" is a song by American singer #CherylLynn from her 1978 #selftitled debut studio album. The song, which was released in August 1978 as Lynn's debut #single, was written by Lynn, #DavidPaich and #DavidFoster.
https://www.youtube.com/watch?v=fI569nw0YUQ

"Got to Be Real" is a song by American singer #CherylLynn from her 1978 #selftitled debut studio album. The song, which was released in August 1978 as Lynn's debut #single, was written by Lynn, #DavidPaich and #DavidFoster.
https://www.youtube.com/watch?v=fI569nw0YUQ

"Got to Be Real" is a song by American singer #CherylLynn from her 1978 #selftitled debut studio album. The song, which was released in August 1978 as Lynn's debut #single, was written by Lynn, #DavidPaich and #DavidFoster.
https://www.youtube.com/watch?v=fI569nw0YUQ

"Got to Be Real" is a song by American singer #CherylLynn from her 1978 #selftitled debut studio album. The song, which was released in August 1978 as Lynn's debut #single, was written by Lynn, #DavidPaich and #DavidFoster.
https://www.youtube.com/watch?v=fI569nw0YUQ

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"These Dreams" is a song by American #rock band #Heart from their 1985 #selftitled eighth studio album. It was written by #BernieTaupin and #MartinPage and released in 1986, as the album's third single, becoming the band's first song to reach number one on the US #Billboard Hot 100. The single's #Bside song "Shell Shock" (on some releases) was also the B-side of the band's previous single "#Never".
https://www.youtube.com/watch?v=ti3m5QlYGjc

"These Dreams" is a song by American #rock band #Heart from their 1985 #selftitled eighth studio album. It was written by #BernieTaupin and #MartinPage and released in 1986, as the album's third single, becoming the band's first song to reach number one on the US #Billboard Hot 100. The single's #Bside song "Shell Shock" (on some releases) was also the B-side of the band's previous single "#Never".
https://www.youtube.com/watch?v=ti3m5QlYGjc

"These Dreams" is a song by American #rock band #Heart from their 1985 #selftitled eighth studio album. It was written by #BernieTaupin and #MartinPage and released in 1986, as the album's third single, becoming the band's first song to reach number one on the US #Billboard Hot 100. The single's #Bside song "Shell Shock" (on some releases) was also the B-side of the band's previous single "#Never".
https://www.youtube.com/watch?v=ti3m5QlYGjc

"These Dreams" is a song by American #rock band #Heart from their 1985 #selftitled eighth studio album. It was written by #BernieTaupin and #MartinPage and released in 1986, as the album's third single, becoming the band's first song to reach number one on the US #Billboard Hot 100. The single's #Bside song "Shell Shock" (on some releases) was also the B-side of the band's previous single "#Never".
https://www.youtube.com/watch?v=ti3m5QlYGjc

"These Dreams" is a song by American #rock band #Heart from their 1985 #selftitled eighth studio album. It was written by #BernieTaupin and #MartinPage and released in 1986, as the album's third single, becoming the band's first song to reach number one on the US #Billboard Hot 100. The single's #Bside song "Shell Shock" (on some releases) was also the B-side of the band's previous single "#Never".
https://www.youtube.com/watch?v=ti3m5QlYGjc

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=1qNVMaYWuwY

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=1qNVMaYWuwY

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

#Menestrel é uma nova tag mensal para celebrar a música em suas formas mais conceituais: os álbuns. E para abrir com chave de ouro, estreia-se com o tema #debut - que mais?

É suposto ser sobre "os primeiros trabalhos de seus artistas favoritos", mas eu quis não só escolher isso, como também um album que, lá por ser o debut da banda, não deixa de mostrar o melhor que a banda tem para oferecer.

Não é que os álbums que se seguem na discografia de Ashram sejam menos excelentes que este "Ashram" (sim, é um self-titled - e quem sabe se #selftitled não é um tema de um próximo menestrel...), mas este, lá por ser o primeiro, não fica nada atrás em excelência... e é provavelmente o que eu ouço mais vezes, talvez por ser também o álbum com o qual conheci a banda - e o único que tinha para ouvir até sair o próximo...

Na foto mostro o album na sua re-edição em digipak (limitada a 1000 unidades), com a qual substitui a edição original em jewel case, porque esta tem uma faixa extra (Fourth).

Uma edição mais recente (de 2013) também com esta faixa ainda existe em stock na editora*, aproveitem!

Mas que é isso, Ashram? Bem, Ashram é um trio Italiano de música neoclássica, e em vez de os descrever... ouçam! O disco começa assim:

https://www.youtube.com/watch?v=wmJsvsWWIuQ

#début

* https://www.mandalia-music.com/produit/ashram/

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"Someday" is a song by American singer-songwriter #MariahCarey from her #selftitled debut studio album (1990). It is a #dancepop, #newJackSwing and #RAndB song. Prior to Carey signing a record contract, she and producer #BenMargulies had written and produced a four-track #demo which included "Someday". After signing a contract with #ColumbiaRecords, Carey began work on her debut album and she reached out to #RicWake to ask if he would produce the song.
https://www.youtube.com/watch?v=w7maGGxIK1w

"Someday" is a song by American singer-songwriter #MariahCarey from her #selftitled debut studio album (1990). It is a #dancepop, #newJackSwing and #RAndB song. Prior to Carey signing a record contract, she and producer #BenMargulies had written and produced a four-track #demo which included "Someday". After signing a contract with #ColumbiaRecords, Carey began work on her debut album and she reached out to #RicWake to ask if he would produce the song.
https://www.youtube.com/watch?v=w7maGGxIK1w

Self-Titled Summer | Wild Flag (2011, US)

Our final entry in this series is a spotlight on number 346 on The List, submitted by mfennvt. This Portland- and Washington D.C.-based indie rock band was the quartet of Carrie Brownstein, Janet Weiss, Rebecca Clay Cole, and Mary Timony, previously of bands such as Sleater-Kinney, Quasi, The Minders, Autoclave, and Helium. This s/t was their debut and ultimately only album, but each member has continued to make kick-ass music elsewhere, including the reformed Sleater-Kinney, Pavement, and Ex Hex.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/09/30/self-titled-summer-wild-flag-2011-us/

Want to skip straight to the music? Here's the Bandcamp: https://wildflag.bandcamp.com/album/wild-flag

Happy listening! And with that, I’ll now be taking about a month (maybe more) off from writing up new 1001 Other Albums blog posts. Take care of yourselves, and I'll meet you back here in November with more excellent Fediverse-recommended music.

#WildFlag #CarrieBrownstein #JanetWeiss #RebeccaCole #MaryTimony #IndieRock #selftitled #music #1001OtherAlbums

Self-Titled Summer | Trio (1981, Germany)

Our next spotlight on a Fedi-recommended self-titled album is on number 365 on The List, submitted by platenworm. The minimalist Neue Deutsche Welle trio called Trio was Stephan Remmler on lead vocals and keyboards, Gert “Kralle” Krawinkel on guitar and backing vocals, and Peter Behrens. This album is their debut, produced by Klaus Voormann (former bassist for Manfred Mann and Plastic Ono Band, among other things) and featuring the actual address and number for the band's shared home on the cover...a choice that would eventually lead to them moving out and breaking up. A song that got added to a reissue became a huge international hit, "Da Da Da (ich lieb' dich nicht du liebst mich nicht aha aha aha)", and has since appeared in a variety of places such as a 1997 VW ad and that piece of cinematic greatness, Bio-Dome.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/09/27/self-titled-summer-trio-1981-germany/

Want to skip straight to the music? Here's a(n unofficial) Bandcamp: https://triofan.bandcamp.com/album/trio-full-album-1981

Happy listening!

#Trio #NeueDeutscheWelle #NewWave #synthpop #rock #Germany #1980s #selftitled #music #1001OtherAlbums

Self-Titled Summer | Tracy Chapman (1988, US)

Our next spotlight on a Fedi-recommended self-titled album is on number 821 on The List, submitted by shiawase. This singer-songwriter and her impeccable take on folk rock first hit the airwaves via demos she cut at her college radio station. After one of those demos was stolen from said radio station and sent to a music exec, Chapman was pretty much immediately signed to Elektra Records. This s/t is her fantastic debut with a loaded 1-2 punch of a beginning, "Talkin' Bout a Revolution" followed directly by "Fast Car", songs that are still landing an impact today.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/09/24/next-m-self-titled-summer-tracy-chapman-1988-us/

Want to skip straight to the music? Here's a Songlink: https://album.link/ca/i/79565550

Happy listening!

#TracyChapman #FolkRock #1980s #selftitled #music #1001OtherAlbums

Self-Titled Summer | Throwing Muses (1986, US)

Our next spotlight on a Fedi-recommended self-titled album is on number 771 on The List, submitted by puffer. This alt rock/post-punk group originated in Rhode Island as a high school band formed by sisters Kristin Hersh and Tanya Donelly. Fast forward a few years and line-up changes later, Throwing Muses became the first American band signed to British label 4AD, signed on the strength of their 1985 demo tape. The album we look at here is their (technically untitled) brilliant debut studio album. Following this album, Throwing Muses would become quite intertwined with (and, in a way, partially responsible for) the Pixies, though I'm sure you know a Pixies fan or two who doesn't know them. Continuing as a trio sans Donelly since 1992, the band has kept releasing albums and touring in-between Hersch's solo work. Earlier this year, Throwing Muses released their 11th studio album, Moonlight Concessions, and have an Australia/New Zealand tour coming up in December.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog (now in full-screen width! 🤓): https://1001otheralbums.com/2025/09/21/self-titled-summer-throwing-muses-1986-us/

Want to skip straight to the music? Here's an Internet Archive link: https://archive.org/details/0577_throwing_muses_throwing_muses_1986__mlib

Happy listening!

#ThrowingMuses #KristinHersh #TanyaDonelly #AltRock #PostPunk #4AD #1980s #selftitled #music #1001OtherAlbums

Wolves – Self-Titled Review

By Dear Hollow

Remember when hardcore was, like, hardcore? Wolves does. The generically named yet tongue-in-cheek UK hardcore gang makes antiestablishment music cool again, but not in the tired way. It’s not the noise-and-noise-only approach of early punk’s darlings Sex Pistols or Black Flag, but it ain’t pop-punk’s catchy anthem either. It’s jerky, jagged, unhinged, and doesn’t give a fuck about your feelings – it’s angular!1 But it’s also melodic, heartfelt, and overwhelmingly sincere. Calling out fascism and nationalism and the assholes who tote them, while getting personal and vulnerable with themes of parenthood and heartbreak, Wolves offers a scathing forty-eight minute romp through both the unfriendliness and melodicism of hardcore’s storied history.

Wolves is hardcore in a traditional way, but that doesn’t forego on experimentation. The quintet at its core recalls the hardcore fury of Gallows or Verse in their punky politically inclined foot on the gas, but they toss in a generous helping of post-hardcore, healthy cup of mathcore, and a drizzle of post-metal into their stew of titles. Furthermore, four out of five members are also vocalists2 and panic chord abuse runs rampant alongside a groovy swagger. It recalls Every Time I Die, The Dillinger Escape Plan, and Poison the Well without committing to them completely, creating a hardcore album that rides neatly on the borders with intensity when needed and thoughtful melody when the situation calls for it. Both bolstered and hindered by their four vocalists and a gratuitous runtime, Self-Titled is math-curious, -core-furious, and genre-spurious debut LP.

Wolves justifies its lengthy runtime with some tasteful experimentation. While the backbone of tempo-abusing furious hardcore punk, a hefty amount of melody adds a heartfelt ache to the tracks (“All or Something”), while post-metal’s dirge-like hypnotism appears to slow things down in a far more somber and dreary tone (“New Liver, Same Eagle”). These moments can be hit-or-miss, however, as the more Intronaut-inspired expanses that rely on clean vocals fall drearily flat (“A Stolen Horse”), the bluesy riffs can grate after so many reiterations (“A Guide to Accepting One’s Fate”), and the more chaotic mathcore faithful can derail the otherwise interesting grooves (“Nicaea to See You (To See You Nicaea)”). Furthermore, although the melodic nature recalls the yearning moments of Counterparts or The Ghost Inside, the four-vocal attack does not bode well, the fry vocals feeling particularly grating against the layered plucking (“All or Something,” “A Stolen Horse”).

Thankfully then, the bulk of Self-Titled is one hell of a beatdown romp that toes the line between its influences in a relentless blend of mathy and groovy. Wonky panic chords and dissonant technical sweeps courtesy of The Dillinger Escape Plan add a desperate and unhinged dimension (“LEECHES!,” “Emergency Equipment”), while bluesy swagger that recalls the heyday of Every Time I Die makes riffs sound “yuuuuge” against the backdrop of blistering hardcore tempos, resulting in some seriously mosh-worthy content (“Thirteen Crows and One Pigeon,” “The Rich Man and the Sea”). Second track “Reformed (Try Love)” is of special note, that while its groovy riffs are rad, the spoken word callout is the most hardcore thing I’ve heard this year, calling out those who are “one step from Nazi propaganda” and nationalism-flirting politicians, businessmen, and influencers, British and American: “Mate, they don’t give a fuck about you, but you′ve let them whisper in your ear… ’cause it′s easier to hate than to look in a fucking mirror.” In Wolves’ words, “Christ, what a shower of cunts.”

Wolves’ Self-Titled is all about balance, as their unapologetic brashness blends surprisingly well with their tongue-in-cheek vibe and vulnerable melodics. At its core, it’s a math-curious hardcore romp that fits neatly alongside the likes of both Gallows, Botch, and even Stray from the Path, so it’s easy to forgive the overloud vocals, mediocre cleans, periodically gratuitous repetition, and album length. When its experimental edge succeeds, it’s a home run, but that’s not the star of the show – its political edge and weaponized mathcore influence will rip you a new one. Wolves is here to make sure you’re not “duped by absolute scumbags” and have a rip-roaring time doing it.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Ripcord Records
Websites: theycalluswolves.bandcamp.com | facebook.com/theycalluswolves
Releases Worldwide: September 5th, 2025

#2025 #30 #BlackFlag #Botch #BritishMetal #Counterparts #EveryTimeIDie #Gallows #HardcorePunk #Intronaut #Mathcore #PoisonTheWell #PostMetal #Review #Reviews #RipcordRecords #SelfTitled #Sep25 #SexPistols #StrayFromThePath #TheDillingerEscapePlan #TheGhostInside #Verse #Wolves

Self-Titled Summer | Suzanne Vega (1985, US)

Our next spotlight on a Fedi-recommended self-titled album is on number 820 on The List, submitted by shiawase. Though many people likely only know of this artist via DNA's dance remix of "Tom's Diner", this singer-songwriter was an important part of the folk music revival and Greenwich Village music scene boom of the early 80s. The album we look at here is Vega's debut, a collection of stories presented in a stripped-back neo-folk style. And Vega is still going strong! She just released her 10th studio album, Flying with Angels, and is currently touring Europe/UK until the end of the year.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/09/15/self-titled-summer-suzanne-vega-1985-us/

Want to skip straight to the music? Here's a Songlink: https://album.link/ca/i/1429191144

Happy listening!

#SuzanneVega #SingerSongwriter #folk #FolkMusic #GreenwichVillage #1980s #selftitled #music #1001OtherAlbums

Self-Titled Summer | Suzanne Vega (1985, US)

Our next Self-Titled Summer spotlight is on number 820 on The List, submitted by shiawase. Here’s a quick rundown:

• Point of origin(s): Born in California (in 1959) and raised in New York City, as a college student singer-songwriter Vega became part of the folk music revival and Greenwich Village music scene boom of the early 80s. Vega was part of Jack Hardy‘s songwriters’ group at the Cornelia Street Cafe, from which a cooperative and monthly anthology (The CooP/Fast Folk Musical Magazine) arose to give an outlet for independent artists to perform and put out their first recordings. Vega’s first was “Cracking” on the inaugural Fast Folk comp (February 1982), followed by a handful of other songs on subsequent Fast Folk issues over the next three years.[1] A year after Vega was signed to A&M Records, in May 1985 she released this, her debut album, which includes most of those Fast Folk songs (with the exception of “Tom’s Diner” and “Gypsy”, both of which would end up on Vega’s second album) plus more. Vega also performed the entire album (plus “Tom’s Diner” and “Gypsy”, as well as some great monologues) as a solo acoustic set at the SpeakEasy club in Greenwich Village the week the s/t came out. This lovely performance was released as a radio broadcast to promote the album; in 2014, the recording was finally released as an album (though possibly unofficially?), Live at the Speakeasy (also found under the title Live in New York 1985).
• Tasting notes: Masterful storytelling via stripped-back contemporary folk/neo-folk, acoustic guitar
• Standout track: The album’s first single, “Marlene on the Wall”; also “Small Blue Thing” and “The Queen and the Soldier”. I also really dig all the live Speakeasy versions.
• Where are they now?: Vega’s s/t was a hit, as was her addition to the Pretty in Pink soundtrack (“Left of Center“) in 1986 and then her second album, Solitude Standing (1987). In 1989, she became the very first woman to headline the Glastonbury Festival. The following year then saw Vega’s biggest hit – indeed what most people know her for – being a remix of “Tom’s Diner” by British electronic dance duo DNA. Though originally showing up in clubs as an unsolicited bootleg titled “Oh Susanne”, Vega soon gave DNA permission for an official release. Around the same time, this song garnered Vega fame for a rather random reason, as the original a cappella version was used as the test song when the MP3 format was being developed by Karlheinz Brandenburg, particularly to see how the human voice fared with its compression algorithm. Brandenburg refined the algorithm until Vega’s voice sounded right, and christened Vega “Mother of the MP3”.
  Vega has gone on to do many other wonderful things, including: experimenting with the folk genre, winning many awards, being featured on a number of soundtracks, becoming a published author, becoming a playwright (with “Barely Breathing” Duncan Sheik!), hosting a Peabody Award-winning radio series, acting in an off-Broadway musical, and starting her own recording label and re-recording her back catalogue.
  Vega just released her 10th studio album this last May, Flying with Angels, and is currently touring it with dates in Netherlands, Germany, Belgium, England, and Scotland still to come.
• Websites: Artist website, Bandcamp, Wikipedia

Happy listening!

• Songlink: Suzanne Vega – Suzanne Vega
• Discogs: Suzanne Vega – Suzanne Vega

1. “Gypsy” and “Night Moves” (Jun and Sep ’82 comps), “The Queen and the Soldier” and “Some Journey” (Feb and Jun ’83), “Tom’s Diner and “Knight Moves” (Jan and Apr ’84), and finally “Small Blue Thing” (May ’85). ↩︎

#1980s #FastFolkMusicalMagazine #folk #folkMusic #GreenwichVillage #ListenToThis #music #musicDiscovery #selftitled #singerSongwriter #SuzanneVega

Self-Titled Summer | Suzanne Vega (1985, US)

Our next Self-Titled Summer spotlight is on number 820 on The List, submitted by shiawase. Here’s a quick rundown:

• Point of origin(s): Born in California (in 1959) and raised in New York City, as a college student singer-songwriter Vega became part of the folk music revival and Greenwich Village music scene boom of the early 80s. Vega was part of Jack Hardy‘s songwriters’ group at the Cornelia Street Cafe, from which a cooperative and monthly anthology (The CooP/Fast Folk Musical Magazine) arose to give an outlet for independent artists to perform and put out their first recordings. Vega’s first was “Cracking” on the inaugural Fast Folk comp (February 1982), followed by a handful of other songs on subsequent Fast Folk issues over the next three years.[1] A year after Vega was signed to A&M Records, in May 1985 she released this, her debut album, which includes most of those Fast Folk songs (with the exception of “Tom’s Diner” and “Gypsy”, both of which would end up on Vega’s second album) plus more. Vega also performed the entire album (plus “Tom’s Diner” and “Gypsy”, as well as some great monologues) as a solo acoustic set at the SpeakEasy club in Greenwich Village the week the s/t came out. This lovely performance was released as a radio broadcast to promote the album; in 2014, the recording was finally released as an album (though possibly unofficially?), Live at the Speakeasy (also found under the title Live in New York 1985).
• Tasting notes: Masterful storytelling via stripped-back contemporary folk/neo-folk, acoustic guitar
• Standout track: The album’s first single, “Marlene on the Wall”; also “Small Blue Thing” and “The Queen and the Soldier”. I also really dig all the live Speakeasy versions.
• Where are they now?: Vega’s s/t was a hit, as was her addition to the Pretty in Pink soundtrack (“Left of Center“) in 1986 and then her second album, Solitude Standing (1987). In 1989, she became the very first woman to headline the Glastonbury Festival. The following year then saw Vega’s biggest hit – indeed what most people know her for – being a remix of “Tom’s Diner” by British electronic dance duo DNA. Though originally showing up in clubs as an unsolicited bootleg titled “Oh Susanne”, Vega soon gave DNA permission for an official release. Around the same time, this song garnered Vega fame for a rather random reason, as the original a cappella version was used as the test song when the MP3 format was being developed by Karlheinz Brandenburg, particularly to see how the human voice fared with its compression algorithm. Brandenburg refined the algorithm until Vega’s voice sounded right, and christened Vega “Mother of the MP3”.
  Vega has gone on to do many other wonderful things, including: experimenting with the folk genre, winning many awards, being featured on a number of soundtracks, becoming a published author, becoming a playwright (with “Barely Breathing” Duncan Sheik!), hosting a Peabody Award-winning radio series, acting in an off-Broadway musical, and starting her own recording label and re-recording her back catalogue.
  Vega just released her 10th studio album this last May, Flying with Angels, and is currently touring it with dates in Netherlands, Germany, Belgium, England, and Scotland still to come.
• Websites: Artist website, Bandcamp, Wikipedia

Happy listening!

• Songlink: Suzanne Vega – Suzanne Vega
• Discogs: Suzanne Vega – Suzanne Vega

1. “Gypsy” and “Night Moves” (Jun and Sep ’82 comps), “The Queen and the Soldier” and “Some Journey” (Feb and Jun ’83), “Tom’s Diner and “Knight Moves” (Jan and Apr ’84), and finally “Small Blue Thing” (May ’85). ↩︎

#1980s #FastFolkMusicalMagazine #folk #folkMusic #GreenwichVillage #ListenToThis #music #musicDiscovery #selftitled #singerSongwriter #SuzanneVega

Self-Titled Summer | Savage Garden (1997, Australia)

Our next spotlight on a Fedi-recommended self-titled album is on number 1078 on The List, submitted by gavin57. This is the debut album from the "chic-a-cherry cola" flavoured pop duo, whose sudden and rather huge success unfortunately cut their time together as a band rather short. Give it a spin for a brief nostalgic return to simpler times...

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/09/12/self-titled-summer-savage-garden-1997-australia/. Btw, this is the 200th album from The List that we've covered on the blog! Wtf!

Want to skip straight to the music? Here's a Songlink: https://album.link/ca/i/1670838847

Happy listening!

#SavageGarden #DarrenHayes #DanielJones #pop #Australia #1990s #selftitled #music #1001OtherAlbums

Self-Titled Summer | Savage Garden (1997, Australia)

Our next Self-Titled Summer spotlight (and the 200th album we’ve spot…lit!) is on number 1078 on The List, submitted by @gavin57. Here’s a quick rundown:

• Point of origin(s): The roots of this Brisbane duo were established in a cover band called Red Edge, formed in 1992 and consisting of two sets of brothers – Daniel and Oliver Jones, and Jamie and Scott Sullivan. In 1993, Darren Hayes joined Red Edge as the vocalist, and one year later left the group with Daniel Jones to play their own music, first calling themselves Crush then, briefly, Bliss. The name they settled on was taken from a line in Anne Rice’s novel The Vampire Lestat. Beginning in 1995, the duo started work on this, their debut album, gaining a ton of attention before it was even released due to their debut hit single, “I Want You”.
• Tasting notes: 80s UK pop that worships at the feet of stars such as Michael Jackson, Prince, George Michael, and Madonna; like a chic-a-cherry cola; simpler times (but also hidden heartbreaking turmoil)
• Standout tracks: For the breathtaking rap – “All Around You”. For the bop – “A Thousand Words”. For nostalgia and the story behind it – “I Want You” – the story being that it was about a beautiful dream Hayes had about being in love with a boy and then mourning him upon waking, not knowing if he’d experience such a feeling IRL (Hayes didn’t come out for a couple more years). Insert :ablobcatcry: emoji.
• Where are they now?: Savage Garden physically separated during the writing of their next album and had to FedEx each other tapes between Australia and the US to complete Affirmation (1999). In 2001, Hayes started working on his first solo album (Spin, released 2002), Jones launched his own music label (Meridien Muzik), and then, at the end of the year, the two officially announced Savage Garden’s break up. Hayes continues to work as a solo artist (his latest album being the 2022 Homosexual) and released a memoir, Unlovable, last year. Jones has since left the music industry.
• Websites: Wikipedia

Happy listening!

• Songlink: Savage Garden – Savage Garden
• Discogs: Savage Garden – Savage Garden

#1990s #DanielJones #DarrenHayes #music #musicDiscovery #popMusic #SavageGarden #selftitled

Self-Titled Summer | Savage Garden (1997, Australia)

Our next Self-Titled Summer spotlight (and the 200th album we’ve spot…lit!) is on number 1078 on The List, submitted by @gavin57. Here’s a quick rundown:

• Point of origin(s): The roots of this Brisbane duo were established in a cover band called Red Edge, formed in 1992 and consisting of two sets of brothers – Daniel and Oliver Jones, and Jamie and Scott Sullivan. In 1993, Darren Hayes joined Red Edge as the vocalist, and one year later left the group with Daniel Jones to play their own music, first calling themselves Crush then, briefly, Bliss. The name they settled on was taken from a line in Anne Rice’s novel The Vampire Lestat. Beginning in 1995, the duo started work on this, their debut album, gaining a ton of attention before it was even released due to their debut hit single, “I Want You”.
• Tasting notes: 80s UK pop that worships at the feet of stars such as Michael Jackson, Prince, George Michael, and Madonna; like a chic-a-cherry cola; simpler times (but also hidden heartbreaking turmoil)
• Standout tracks: For the breathtaking rap – “All Around You”. For the bop – “A Thousand Words”. For nostalgia and the story behind it – “I Want You” – the story being that it was about a beautiful dream Hayes had about being in love with a boy and then mourning him upon waking, not knowing if he’d experience such a feeling IRL (Hayes didn’t come out for a couple more years). Insert :ablobcatcry: emoji.
• Where are they now?: Savage Garden physically separated during the writing of their next album and had to FedEx each other tapes between Australia and the US to complete Affirmation (1999). In 2001, Hayes started working on his first solo album (Spin, released 2002), Jones launched his own music label (Meridien Muzik), and then, at the end of the year, the two officially announced Savage Garden’s break up. Hayes continues to work as a solo artist (his latest album being the 2022 Homosexual) and released a memoir, Unlovable, last year. Jones has since left the music industry.
• Websites: Wikipedia

Happy listening!

• Songlink: Savage Garden – Savage Garden
• Discogs: Savage Garden – Savage Garden

#1990s #DanielJones #DarrenHayes #music #musicDiscovery #popMusic #SavageGarden #selftitled

Self-Titled Summer | Penguin Cafe Orchestra (1981, UK)

Our next spotlight on a Fedi-recommended self-titled album is on number 279 on The List, submitted by friscolala. Inspired by a shellfish-induced hallucination composer and founder Simon Jeffes had, PCO's whimsical instrumental music is hard to classify but certainly not hard to listen to. Beginning as a quartet, this s/t, their 2nd studio album, sees the group as a 10-piece. When giving the album a spin, you might recognize something - a few of the tracks on this album would later be used in various places, including "Telephone and Rubber Band" in the Oliver Stone film Talk Radio and "Numbers 1-4" on a Mister Rogers' Neighborhood episode.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/09/05/self-titled-summer-penguin-cafe-orchestra-1981-uk/

Want to skip straight to the music? Here's a Youtube: https://www.youtube.com/watch?v=FhIguI99BDo

Happy listening!

#PenguinCafeOrchestra #PenguinCafe #SimonJeffes #ArtRock #folk #instrumental #1980s #selftitled #music #1001OtherAlbums

Self-Titled Summer | Penguin Cafe Orchestra (1981, UK)

Our next Self-Titled Summer spotlight is on number 279 on The List, submitted by friscolala. Here’s a quick rundown:

• Point of origin(s): The Penguin Cafe Orchestra (PCO) was founded by British guitarist and composer Simon Jeffes in 1972. The “Penguin Cafe” part of the name as well as the inspiration for the music resulted from a vivid dream/hallucination Jeffes experienced due to some bad shellfish. The group’s debut album, Music from the Penguin Café (1976), was credited to the “Penguin Café Quartet” of Jeffes plus Helen Liebmann on cello, Steve Nye on piano, and Gavyn Wright on violin and viola. Released on Brian Eno’s experimental label, Obscure, that album kickstarted the conundrum of how exactly to classify PCO’s sound. The album we look at here, their 2nd, continues that conundrum and expands the original quartet into a 10-piece “orchestra”, with the addition of Braco (percussion), Giles Leaman (oboe), Neil Rennie (ukulele), Geoffrey Richardson (a bunch of stuff), Julio Segovia (cymbals), and Peter Veitch (accordion, violin).
• Tasting notes: Whimsical art rock? Minimalist chamber folk if said chamber was a Cirque du Soleil tent and the folk was for the acrobats’ warm-up which inevitably turned into a magical tea party/all-night shindig? The soundtrack to Amélie if the characters were penguins and not humans and it was set in a small town in Australia not France?
• Standout track: “The Ecstasy of Dancing Fleas”
• Where are they now?/RIP: PCO would go on to release three more studio albums and became a very beloved band; snippets of their work can be found in a wide variety of places including film, radio/podcast theme music, and even a Mister Rogers’ Neighorhood episode. Though the lineup would change here and there, the group toured extensively for a good 20 years, pretty much right up until Jeffes died in 1997 at the age of 48. In 2007, following a series of well-received reunion concerts, Jeffes’ son Arthur Jeffes formed a new group called Penguin Cafe, which plays PCO music and original work in the vein of PCO. A 2025-26 “Penguin Cafe Performs Music from the Penguin Cafe Orchestra” tour is underway as we speak, with UK dates currently posted for tomorrow (September 6) and November.
• Websites: Wikipedia

Happy listening!

• YouTube: Penguin Cafe Orchestra – Penguin Cafe Orchestra
• Discogs: Penguin Cafe Orchestra – Penguin Cafe Orchestra

#1980s #artRock #folk #instrumental #music #musicDiscovery #PenguinCafe #PenguinCafeOrchestra #selftitled #SimonJeffes

Self-Titled Summer | Penguin Cafe Orchestra (1981, UK)

Our next Self-Titled Summer spotlight is on number 279 on The List, submitted by friscolala. Here’s a quick rundown:

• Point of origin(s): The Penguin Cafe Orchestra (PCO) was founded by British guitarist and composer Simon Jeffes in 1972. The “Penguin Cafe” part of the name as well as the inspiration for the music resulted from a vivid dream/hallucination Jeffes experienced due to some bad shellfish. The group’s debut album, Music from the Penguin Café (1976), was credited to the “Penguin Café Quartet” of Jeffes plus Helen Liebmann on cello, Steve Nye on piano, and Gavyn Wright on violin and viola. Released on Brian Eno’s experimental label, Obscure, that album kickstarted the conundrum of how exactly to classify PCO’s sound. The album we look at here, their 2nd, continues that conundrum and expands the original quartet into a 10-piece “orchestra”, with the addition of Braco (percussion), Giles Leaman (oboe), Neil Rennie (ukulele), Geoffrey Richardson (a bunch of stuff), Julio Segovia (cymbals), and Peter Veitch (accordion, violin).
• Tasting notes: Whimsical art rock? Minimalist chamber folk if said chamber was a Cirque du Soleil tent and the folk was for the acrobats’ warm-up which inevitably turned into a magical tea party/all-night shindig? The soundtrack to Amélie if the characters were penguins and not humans and it was set in a small town in Australia not France?
• Standout track: “The Ecstasy of Dancing Fleas”
• Where are they now?/RIP: PCO would go on to release three more studio albums and became a very beloved band; snippets of their work can be found in a wide variety of places including film, radio/podcast theme music, and even a Mister Rogers’ Neighorhood episode. Though the lineup would change here and there, the group toured extensively for a good 20 years, pretty much right up until Jeffes died in 1997 at the age of 48. In 2007, following a series of well-received reunion concerts, Jeffes’ son Arthur Jeffes formed a new group called Penguin Cafe, which plays PCO music and original work in the vein of PCO. A 2025-26 “Penguin Cafe Performs Music from the Penguin Cafe Orchestra” tour is underway as we speak, with UK dates currently posted for tomorrow (September 6) and November.
• Websites: Wikipedia

Happy listening!

• YouTube: Penguin Cafe Orchestra – Penguin Cafe Orchestra
• Discogs: Penguin Cafe Orchestra – Penguin Cafe Orchestra

#1980s #artRock #folk #instrumental #music #musicDiscovery #PenguinCafe #PenguinCafeOrchestra #selftitled #SimonJeffes

Self-Titled Summer | Paradise Lost (2005, UK)

Our next spotlight on a Fedi-recommended self-titled album is on number 1077 on The List, submitted by gavin57. Initially a death-doom band, Paradise Lost is responsible for giving the genre of gothic metal its name via their 2nd album, Gothic (1991). The band later added in some electronica and rock elements and flirted with moving away from metal as a whole but, by the time we get to this, their 10th album, they had returned to the fold. These legends are still going strong, with their 17th album Ascension to be released in a couple weeks.

Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/09/02/self-titled-summer-paradise-lost-2005-uk/

Want to skip straight to the music? Here's the Bandcamp: https://paradiselostofficial.bandcamp.com/album/paradise-lost

Happy/sad listening! 🤘

#ParadiseLost #GothicMetal #BritishMetal #metal #selftitled #music #1001OtherAlbums