Francis Ford Coppola - Apocalypse Now (1979), 7/10

Coppola’s visual take on Heart of Darkness successfully captures the ethos of Conrad’s story while bringing its own relevant themes into the forefront, also using expert cinematography to maximum effect. The influence from Herzog’s Aguirre is clear, yet the nuance is lacking in comparison. Still, it remains one of the most interesting and original war films in existence. While certain aspects of the story such as Kurtz’ character lack in comparison to the novella, it accomplishes a great story of its own. The comparisons to its blatant allusions are partly what limit the narrative experience, and this is where Coppola stunts his own work. The journey itself is a collection of tangents that inspire laughter, thought, or sometimes recoil, but largely contribute to the appropriately cinematic climax of Kurtz’ death. The dramatic presentation of the story works brilliantly in some moments, elevating otherwise ridiculous scenarios to gorgeous storytelling, yet spoils the grounded feeling of others, and in some of these sparse yet jagged moments the purposive sentiment falls flat. The redux adds substance but detracts further from the flow, resulting in somewhat of an experiential wash but is worth visiting. It does, however, further explain some of the film’s shortcomings, particularly the thematic disorderliness that plagues the screen. It is most successful when it is entirely original, providing its own perspective on contemporary issues and viewpoints rather than indulging in artistic implications or winded narratives. Kurtz, Willard, and Kilgore are successfully crafted and characterized but the rest fall flat against otherwise striking imagery. Kilgore’s sequence in its entirety, Willard’s retelling of Kurtz story, and the climax of Kurtz’ death and Willard’s departure are moments that make the story worth its time. Still, the feel of the film is too inconsistent and its shortcomings too many to be considered one of the greatest to grace the screen, but among the seemingly endless barrage of war films it stands tall as a unique and meaningful picture.

Steve Roach - Structures From Silence (1984), 7/10

A beautifully crafted set of ambient tracks that rely on creative space and soothing hypnosis to move, yet they do so wonderfully. The entire record resembles the lengthy title track in ethos, particularly considering the months long composition process founded in repetition. Roach is claimed to have played the title track day and night, making minor adjustments, and it is certainly believable when listening to the final product. It is clearly a staple in ambient music and exemplary for its hyper focus on synths as a tool for creating broad yet intricate soundscapes, further as a piece that excels due to its practical, self-imposed limitations. Every track is remarkably engaging for its repetition. Perhaps more importantly it is somewhat of an emotional canvas that lives up to its name Structures From Silence, giving the album further significance as approaching visual art with synthetic sounds. Its simple beauty is immediately apparent but there is a surprising longevity, particularly in the title track, again largely stemming from its open-ended structures that resemble structural poetry along with impressionism. The subjectivity of the album is in its theory, that structures and considerable use of space can be a backdrop for a form of guided meditation while providing its own introspections along with its own inherent premise. Roach’s project excels so clearly in its aim that it is inarguably successful but will always have detractors due to its adaptability, gentle sounds, and its inherent demand on its listeners.

XTC - Drums and Wires (1979), 7/10

Drums and Wires builds on the shifting momentum of White Music and sheds some of the misguided eccentricities of Go 2 to form what would be the band’s most successful and meaningful run of albums. One of the thematic and sonic peaks of the era, the album has a range of songs and lyircs that finally begin to showcase Moulding and Partridge’s impressive compositional abilities. While songs such as “Helicopter” may be eventually off-putting and the closer “Complicated Game” fails to satisfy the throughline of the record, the songwriting displayed in the remaining track list is formidable. “Roads Girdle the Globe” and “Outside World” have a particularly notable longevity, yet each and every surrounding track is consistently energizing and moving as well. The album undoubtedly brings the band into a new era, although its place among their best is a matter of taste. Those who prefer depth of concept may point to others but Drums and Wires houses some of XTC’s most impressive and successful singles. The quality of sound featured in the album suggests a particular eighties feeling that lives beyond its time, yet despite its sensibilities also transcends the era, largely stemming from its quality of songwriting. What is perhaps one of the most consistently driving and energetic albums from XTC and more broadly from the late seventies.

Astrud Gilberto - Beach Samba (1967), 4/10

Astrud Gilberto’s Beach Samba begins with “Stay”, a pleasant samba track that features interesting musicality and Gilberto’s signature smooth vocals. Beyond this opening track the album loses its focus and becomes a standard bossa nova album at best and genuinely confusing or terrible at its worst. “Parade”, for instance, has no real place and beyond sounding like an entirely misplaced novelty; it is a poor effort and a grating song. When Gilberto sticks with the traditionally successful aspects of bossa nova music it is bearable although nothing particularly special. Her graceful vocal delivery is the allure of the record, yet she has better performances and contributions elsewhere that exhibit her talents with more grace. The middle of the record is very standard as far as the genre is concerned and plays it safe, although this is a strength considering when Gilberto ventures beyond these boundaries the results are typically quite poor. “Oba Oba”, “Canoeiro”, and “My Foolish Heart” exemplify Astrud in her comfort zone while “I Had the Craziest Dream”, “You Didn’t Have to Be So Nice”, or “Parade” show us why she is best within the confines of the already established tenants of bossa nova. Obviously, there is little of musical substance or grander interest in Beach Samba, making it just another album thrown into the considerably dense mix of bossa nova from the sixties.

The Doors - The Doors (1967), 6/10

The impact of The Doors’ debut record is undeniable. Its consistency is highly arguable, however, especially with songs like “Alabama Song (Whisky Bar)” or “Back Door Man” sounding entirely out of place with varying levels of individual success. The album begins with one of its strongest individual songs in “Break On Through (To the Other Side)” and the first half closes with one of the album’s other strongest singles with “Light My Fire”. Things do gradually get more interesting until the underrated “Take It as It Comes” precedes the epic and lengthy closer aptly titled “The End”. The boundless sexual energy and charisma of the album, particularly in its singles, carry much of the weight but its intermittently generic psych rock slows things down too often. Their follow up album Strange Days has far superior pacing, experiments in studio sound, and songwriting consistency. It is a hit for hardcore psychedelic fans, particularly for indulgent tracks such as “The Crystal Ship” or “End of the Night” but it is not the transcendent experiment in music that it is often touted to be. Even the ambitious closer does not stand up to some of the more interesting songs released during its time. Manzarek’s organ is refreshingly unique in the context of the band’s makeup, but again one can feel a missing piece in almost every song on this record. Morrison’s lyrics are certainly hit or miss depending on personal experience, but they generally lack substance throughout his career. Here they at least work enough to convey an electric musical experience when complemented by Krieger’s writing.

The Doors - Strange Days (1967), 7/10

The Doors proved they could assemble and record an album without a single weak song in Strange Days while simultaneously approaching a more interesting and topical subject matter. This combined with a more complete sound make it an arguably equal or better record compared to their debut. The songs of Strange Days range from introspective psych pop to the sprawling eleven minute closer “When the Music’s Over” that combines brilliant psychedelic abstraction with the band’s knack for infectious songwriting. As the album progresses its strength only builds; there is hardly a moment lacking in interesting musicality or lyricism, building on the sound established by their self-titled debut. Even the chaotic and dark “Horse Latitudes” breathes anarchic life into the record just as the energy of its exploration of established musical ideas begins to wane. It is no surprise that despite its decline in popularity, the band saw the album as a step up in creativity. While their debut indulges itself in its own thematic and sonic sensibilities, Strange Days covers much more creative ground with equal grace. While the expansion of recording techniques can be argued as premature, their execution is outstanding and the inclusion of sounds like marimba and Moog synth are new but match wonderfully well with the band’s existing sound and songwriting techniques. The minimal experimentation with musique concrète is just another layer of interest that adds to the album’s creative appeal. The psychedelic sound is suppressed with this second record in favor of surreal darkness, a refreshing shift that shows signs of maturity and a necessary shift in musical perspective. Its success in relation to The Doors’ powerful debut is arguable but its artistic triumph is absolute.

Nina Simone - Wild Is the Wind (1966), 5/10

Wild Is the Wind is a wildly inconsistent record but when it is great, it is truly remarkable. This irregularity in quality largely stems from the long list of songwriters but also from the scattered source of recordings and Simone’s variation in styles. Unsurprisingly, this is most apparent with Nina Simone’s only compositional contribution to the record “Four Women” that is easily one of her best songs, if not the very best, both from a songwriting and stylistic execution perspective. Contrasted with “Break Down and Let It All Out” which is unremarkable and misguided from the start, this makes the album appear jagged and unpredictable rather than fluid or attractive. There are, however, more good songs than bad, with side one being more irregular than side two, yet the best songs are undoubtedly hosted in the most inconsistent section of the record, never allowing for any true momentum to be constructed. Still, Simone’s single “Four Women” carries enough weight to make the first half memorable and interesting while the second does not have a standout song, apart from perhaps the thematic peak of the title track. The band is equally irregular, sometimes brilliantly matching and accenting Simone’s eccentric vocal qualities and sometimes detracting from the emotive power built by a song. Her style is another aspect of the album that breeds divisiveness, equally through Simone’s discography in general but it is more extreme and apparent here. The aimless and haphazard presentation mixed with a heavy reliance on individual quality to overshadow various grades of songwriting make Wild Is the Wind one of her less appealing major projects.

XTC - Skylarking (1986), 7/10

XTC’s maturity can be heard right away with one of the strongest songs of the album and one of their strongest openers in “Summer’s Cauldron”, followed by eight or so songs that are equally impressive in sound and scope. While things are less consistently outstanding in the second half of the record, stark exceptions being "Mermaid Smiled", “The Man Who Sailed Around His Soul”, and the emotionally charged philosophical closer included on later releases “Dear God”, the bar had already been set very high and the album as a project is remarkably well executed. The band had reached a peak in songwriting and focused arrangements, a combination that yielded what is perhaps their best effort in the pop realm. There is a relatively clear concept of time and its relationship with nature that comes across through the collection of songs that sometimes diverges but largely remains pleasantly consistent. You can also hear the influence of sixties pop and rock music, particularly in the second half of the album. While the inclusion of “Dear God” in later releases adds to the summative quality of the album, its thematic place among the rest is questionable and arguable as fairly omitted, making its presence ultimately unnecessary but simply another testament to the strength in songwriting from Partridge at this stage in the band’s development at its height. There is not a significant difference in the quality of compositions coming from Partridge and Moulding, respectively, which is a pleasant surprise considering the level that these songs blend and form as a cohesive listening experience. The result is a simply gorgeous pop album that transcends most of what the band had accomplished, at least in recent projects and in a sense of thematic and technical achievement. Where the album excels at its highest peak of achievement, however, is in its deviation from expectations, especially with daring songs like “Mermaid Smiled” or “The Man Who Sailed Around His Soul”. These stylistic shifts are mostly heard at the end of the record but are also present as background to some of Partridge's more grabbing pop songs. The album as it progresses becomes a narrative exploration and developing adventure in pursuing deeper meaning through many aspects of life and time. This makes Skylarking a clear artistic high point for eighties pop music from XTC.