The Slush Pile, or gone before you knew they were here
I’ve been so neglectful of this site, I listened to a number of albums and didn’t even mention them.
Some were unremarkable enough not to warrant comment. A few were acquired out of nostalgia and/or curiosity.
Still, they ended up on the Slush Pile.
Bob Mould, Life and Times
That’s a pretty quick turn-around, and in truth, this album actually kicks out the proverbial jams much more than its 2008 predecessor, District Line. It’s not a bad album, but it didn’t really distract me enough from everything else I was listening to.
BONNIE PINK, One
Her experiments are pretty half-hearted, which makes them come across as awkward.
Jónsi & Alex, Riceboy Sleeps
Music for an art installation. Yes, that’s as incidental as it sounds.
Lisa Lisa & Cult Jam, Lisa Lisa & Cult Jam with Full Force
I have this album on vinyl, and it actually has some staying power. I really want to do something with "All Cried Out" for my music project, Eponymous 4. Pretty much a natsukashii download.
Midnight Oil, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1
Midnight Oil’s major label debut found the band experimenting with rhythm machines and synthesizers, but 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 didn’t go as far as Red Sails in the Sunset, nor is it nearly as tuneful as the band’s third album for Columbia, Diesel and Dust.
Quruli, Tamashii no Yukue
In a word, boring.
Sasagawa Miwa, miwaMIRAGE
The major label budget of Sasagawa’s Avex Trax work really makes a difference. On her first full-length album since departing the label, Sasagawa Miwa strips down and draws in. The results don’t make much of an impression. Stick with Jijitsu and Mayoi Naku.