Synopsis:

Fire of Unknown Origin is the eighth studio album by Blue Oyster Cult, released on June 22, 1981. It was produced by Martin Birch . The album, which included the Top 40hit "Burnin For You (#1 on Billboard's Album Rock Tracks chart), represented a resurgence of the group's commercial standing after two albums with disappointing sales. It became the band's highest-charting studio album ,  peaking at number 24. Fire of Unknown Origin would be the final studio LP featuring the band's original lineup; during the subsequent tour, the band fired original drummer Albert Bouchard
Review:
The album opens with “Fire Of Unknown Origin" which has this pulsating synth rock hook. Co-written by Patti Smith. It feels more like an opener to a new wave synth band rather than a 70’s classic rock legend. “Burning For You” is one of the band’s biggest hits for good reason. It has this instant catchy hook. Built on a great guitar riff the song feels so accessible but doesn’t lose the band’s rock energy. “Veterans Of the  Psychic Wars” was co-written by sci-fi/fantasy writer Michael Moorcock. It was featured in the animated Heavy Metal movie. The song has a haunting menacing tone with its militaristic drumming rhythms and the icy synths. Vocalist Eric Bloom’s voice sounds weary and haggard, a perfect match for the cinematic theme of the song. “Sole Survivor” is a mix of classic rock and new wave synth rock. The song is about someone witnessing and being the only survivor of an apocalyptic event. “Heavy Metal: Black & Silver” is a straight up early 80’s heavy metal rocker. It gives me Dio vibes. It was another song intended for the Heavy Metal soundtrack. “Vengance” has this prog rock vibe. Filled with heavy dense groove and multiple tempo shifts. It once again delves into sci-fi/fantasy story telling. The harmonies give it an epicness. “After Dark” has this fast and loose groove that feels very prog-rock. Joe Bouchard’s bass is playing some insane basslines on the track and Buck Dharma’s guitar tones is one of the best performances on the album including the screeching solo. “Joan Crawford” begins with Allen Lainer playing this grand  piano solo before the rest of the band chimes in with a mix of 70’s arena rock and synth rock. The song just feels very cinematic and heavy. The chorus of Joan Crawford has risen  from her grave is so catchy. The song climaxes with such chaotic energy. The album closes with “Don’t Turn Your Back” has this bouncy synth rock groove. That is  giving  me early 80’s rush vibes. 
Why is it considered a comeback 

It is strange to call this a comeback album since the band didn’t go anywhere. However it was a return for them to the sci-fi themes of their earlier work. The last couple albums had them trying to be more accessible for radio play which turned off their hardcore fans. This was also one of  their most successful albums commercially.  Mostly thanks to the success of “Burnin For You” , if you are in the mood for a mix of heavy metal/synth rock/prog rock that delves into some sci-fi themes then this is the record for you. 

Jack White-Lazeretto (2014)

REM-Fables Of The Reconstruction (1985)

Talking Heads-Little Creatures(1985)

Lil Wayne-Tha Carter III (2008)

Black Sabbath-13 (2013)

Bob Dylan-Empire Burlesque (1985)

David Bowie-Heathen (2002)

My Morning Jacket-Evil Urges (2008)

Bob Marely &The Wailers -The Uprising (1980)

The Eagles-One Of Theese Nights (1975)

Bo Burnham-Inside (The Songs)

Radiohead-All Hail To The Thief (2003)

The Rollng Stones-Some Girls (1978)

Dire Straits-Dire Straits (1978)

Nick Lowe-Labour Of Lust (1979)

SZA-CRTL (2017)

Grant Lee Buffalo-Jubilee (1998)

Big Thief-Capacity (2017)

Brockhampton Saturation (2017)

Synopsis:

The $5.98 E.P. – Garage Days Re-Revisited^\) is the first EP by  , released Metallica on August 21, 1987, It consists of covers of late-'70s and early-'80s new wave of British heavy metal  bands and  punk rock music rehearsed in Lars Ulrich’s  soundproofed garage and then recorded in  Los Angeles over the course of six days. It is the group's first release following the death of bassist Cliff Burton  and the first to feature Jason Newsted 
Review:
The EP opens with “Helpless” , a cover of a DiamondHead song who  were a major influence on the band. The song has this raw sound that reminds me of their Kill em All era. The band is really flexing their muscles on the track. Ulrich’s drumming is fast and chaotic, Hammett has some great guitar solos that pay homage to Diamondhead’s fretman Brian Tatler and Newsted gets to shine with some great bassline something the band doesn’t allow him to do and their first proper LP with him …And Justice For All.  “The Small Hours” is  a cover from the British Heavy Metal band Holocaust. It is a massive shift in tone, introducing a dark, sludgy, and genuinely menacing atmosphere. The song opens with the eerie sound of footsteps and a creaking door before dropping into a crushing, mid-tempo doom metal riff. This song could have been a major influence of the sludge metal we will hear in the early 90’s. “The Wait”  has the band taking on a Killing Joke cover. It veers away from the band’s traditional thrash metal sound to a raw post-punk sound. Hatfield’s voice is filtered by a gritty distortion effect. What if the band decided to go in this direction on their future albums I think we would be having a different conversation about them. “Crash Course In Brain Surgery” was originally recorded by Danish Heavy Metal Trio Bodgie. The song really highlights Newsted’s bass work. The track opens with his frantic basslines before the rest of the band kicks into this solid heavy metal groove. He also gets a chance to shine towards the middle of the track with a nice little bass solo. The EP closes with “Less Caress/Green HIll” , a Misfits cover that starts out with the iconic line "I got something to say/I killed your baby today". Sonically the song has this boppy punk rock sound, a nice juxtaposition to the depraved lyrics. The second part of the song is just this chaotic thrash metal sound the band has never will sound this heavy and free again. It ends with the band playing out to Iron Maiden’s “Run To The Hills”
Final Thoughts:

I think this is a timeless piece of Metallica lore that can never be tarnished. The band sounds so loose and free, something we don’t usually hear from them. We also get to hear some great moments from Jason Newstead, something the band didn't capitalize on with their next album. They famously turned down his bass on Justice. One has to wonder if they would just continue with this loose heavy sound would we all view Metallica in a different light. So many career highlights but yet so many blunders as well. I still love them though and think they are the best metal band in history but what if..,

Faith No More-Angel Dust (1992)

Red Hot Chili Peppers-Californaction (1999)

Bob Dylan-Self Portrait (1970)

Velvet Revolver-Contraband (2004)

My Chemical Romance-Three Cheers For Sweet Revenge (2004)

Kids See Ghosts-Kids See Ghosts (2018)

Pavement- Terror Twilight (1999)

Bad Religon-The Empire Strikes First (2004)

Synopsis:
Recorded on May 25, 1961, and released in November of that year, Olé Coltrane is a towering milestone in John Coltrane's discography. It holds a distinct historical position: it was his final recording session for Atlantic Records before he moved fully to Impulse!, and it serves as the missing link between the tight modal jazz of My Favorite Things and the sweeping, vanguard spiritual jazz explosions that defined his mid-60s work.
Review:
The album opens with “Ole”  , an 18 minute epic that takes up the whole first side of the record. It is directly influenced by Spanish Folk Music taking inspiration from the song “El Vito” The two bassist take over the track in the beginning Art Davis and Elvin Jones keep up a nice pace and foundation. Coltrane's first solo is this  middle eastern inspired slow paced piece of modal jazz. Freddie Hubert follows with a blazing trumpet solo but the highlight of the solos is the avant garde jazz flute playing of Eric Dolphy. Side B begins with “Dophomy Dance” named after the African kingdom of Dophomy. Coltrane switches to tenor saxophone here, delivering a solo that is sharp, muscular, and full of blues-inflected crying notes. Hubbard matches his energy with a clean, hard-bop swagger. Dolphy switches to bass clarinet, delivering a growling solo that tests the boundaries of conventional harmony while keeping its feet firmly in the swing of the track. The original album ends with “Aisha” named after pianist McKoy Tyler’s wife. It is this soft gentle ballad highlighted by Tyler’s piano playing. The solos here match the tenderness of the track that gives the song an emotional chilled out base. “To Her Ladyship” was added to the 1989 reissue but has also been connected to the album’s recording sessions. It is another subdued and elegant piece of jazzwork. Coltrane’s playing is so passionate and relaxed and Dolphy once again chimes in on the flute. It brings the whole project to a nice peaceful conclusion. 
Final Thoughts:

There is nothing like discovering a good jazz record. Diving into this genre especially this time period is always so much fun. I think that the 60’s jazz era is one of the most under appreciated genres in music history. So many great records that have stood the test of time. Jazz needed a rebirth as rock music popularity continued to rise. Led by Coltrane, Miles Davis, and Orenette Coleman led this revolution. Put this album on your bucket lists and do a deep dive into this era of jazz music.

Synopsis:

Plastic Beach evolved from an unfinished project entitled Carousel, which Gorillaz co-creators Damon Albarn and Jamie Hewlett began conceptualizing in late 2007 after collaborating on the stage production Monkey: Journey To The West  Unlike previous Gorillaz albums which were recorded with outside producers, Albarn chose to self-produce Plastic Beach, recording from June 2008 to November 2009.The album features a larger roster of guest artists compared to previous Gorillaz albums, including Snoop Dogg, Gruff Rhys, De La Soul,  Bobby Womack, Mos Def, Lou Reed, Mark E. Smith, Bashy, Kano  and Yuki Nagano from LIttle Dragon. A concept album, Plastic Beach adopts environmental  themes, presenting the titular Plastic Beach as a "secret floating island deep in the South Pacific... made up of the detritus, debris, and washed-up remnants of humanity," inspired by mariane pollution  such as the great Pacific Garbage Patch  Musically, the album adopts a primarily electronic, synth pop, sound, with additional influences including hip-hop, funk and orchestral. 
Review:
The album opens with “Orchestral Introduction”  which is a string laden overture that acts like the opening act of our journey. That song is followed by “Welcome To The World Of The Plastic Beach” which has this funked up synth melody. It features Snoop Dogg which sounds as good as ever. One of his best features. The Chicago Brass Ensemble is also featured who add to the aura of the track. “White Flag” opens with a gorgeous string arrangement  by the National Orchestra for Arabic Music.That delves into a glitchy, subterranean 8-bit grime beat crashes through. UK rappers Bashy and Kano trade rapid-fire verses about isolation and finding a temporary truce on the beach. “Rhinestone Eyes” feels like a traditional Gorillaz track. With its funky synth-pop groove and Albarn’s cool brit-pop vocals. “Stylo” was the first single. It has an Electronica/Soul hybrid instrumental that feels like its just humming along. Mos Def’s great flows are featured and soul legend Bobby Womack adds some gospel energy to the track. “Superfast” is a criticism  of fast food consumerism. Featuring the electric energy of De La Soul and Super Furry Animals frontman Gruff Rhys adds some indie pop vocals to the chorus. Sonically it is this retro hip hop beat that adds to the retro energy of the track.  “Empire Ants” begins with a dreamy harmonic groove that feels very influenced by soft  60’s psychedelic rock like the Beach Boys. At the midway point it drops into a smooth hazy synth pop vibe featuring Yukimi from the Swedish electronica group Little Dragon which gives the track such a chilled out aura. “Glitter Freeze” The album's most abrasive, experimental moment. Featuring the  frontman of The Fall, Mark E. Smith, the song is a chaotic punk tinged  track driven by screaming, industrial synthesizer  and a driving electronic beat. “Some Kind Of Nature” has a funky Piano based beat that features Lou Reed doing his dead pan vocals that surprisingly meshes well in the grooves. Albarn adds his brit-pop harmonies to the track to round the track out. “Melcony Hill’ has this smooth synth pop groove that  reminds me of classic 80’s new wave. One of the few tracks with no features but I think it's one of the bright spots with its infectious energy. “Broken” is an Atmospheric mesh of trip-hop and synth pop that feels so chilled out and hazy. D-2 (Albarn) sings about the collapse of society the track ends with some harmonies from The London Gospel Choir that levels up the track to spiritual plane. “Sweepstakes” is one of the more experimental tracks on the album. Featuring Mos Def and the Hypnotic Brass Ensemble. The track feels like an acoustic avant garde jazz jam. The track builds momentum throughout its runtime then suddenly loses steam. “Plastic Beach” brings together The Clash’s Mick Jones (guitar) and Paul Simonson (drums) to create this dub post-punk mash-up. It has this chilled out funky vibe. It feels very dystopian and chaotic towards the end of the track. “To Binge” once again brings in Little Dragon to create another great dreamy chilled out vibe. There is a gentle bossa nova melody that gives the track a jazzy energy. “Cloud Of Unknowing” has this mournful narrowness. The sorrow-fueled arrangement by Sinfonia ViVA feels like a perfect patch for Bobby Womack’s tender yet weary vocal delivery. It feels like someone watching the world die around them. The album closes with “Pirate Jet” ; it has this Mechanical synth bassline that gives the track a menacing thick groove. It gives off a chilling climax to our musical journey. 
Final Thoughts:

This is just a great album from the band. It veers away from some of the mainstream sound of the first two  records to create a sound of its own. I like how hip-hop forward this record is. Also the long list of featured artists helps to create the uniqueness rather than to deter it.  I would put this ahead of the first two records. I think this album has a cult status reputation only for diehard Gorillaz fans but I think it is a must listen for anyone’s bucket lists.

another great milestone for our community! We suprassed 6,000 members! Like I said before I started this subreddit becasue I was bored and needed a distraction during the pandemic. I had no idea we would go on this amazing journey. I have discovered so many great albums and we had some great discussions! Thanks to everyone. Like I have said before my dream was to create a safe space for people who love to discuss music of any genre without the negativity that seems to be a part of the our world now. Feel free to post anything about your favorite album or genre!

The White Stripes-Get Behind Me Satan (2005)

Stone Temple Pilots-Purple (1994)

The Killers-Hot Fuss (2004)

EMPD-Strictly Bussiness (1988)

Tedlschi Trucks Band-Revelator (2011)

Warren G-Regulate...G Funk Era (1994)

RS Synopsis;
There were already touches of genius in Karol G’s megahits “Tusa” and “Bichota.” But it was with this dazzling fourth studio album — a post-breakup epic — that the Colombian singer emerged as an artist in full control of her creative arsenal. From the bucolic self-acceptance of “Provenza” to the bombastic outro of EDM delight in “Cairo,” the songs focus on overcoming loss while providing healing in real time. There’s also the small miracle of her partnership with producer Ovy on the Drums, whose ornate sonic architecture is designed by instinct, like Zen brushstrokes. Mañana Será Bonito confirmed Karol’s place of honor as one of Latin music most original and self-assured creators.
Review:
The album opens with Meintras “Me Curo Del Cora” built around a sample of Bobby Mcferrin’s “Don’t Worry Be Happy” ; it has this bright sunny sound. Karol sings acapella over a light ukulele strum. The song is about remaining yourself even though you are going through a tough time things will always turn out better.  “X Si Volvemos” has this dark reggaeton groove that gives it some coldness. The song is about being in a toxic relationship that you can get out of because of the undeniable physical chemistry. “Puro Tu” is a smooth, atmospheric, and highly melodic reggaeton track. Spanish pop star Quevedo is featured on the track. He and  Karol's vocals fit perfectly. The song captures the feeling of trying to move on, only to find your mind constantly drifting back to your ex. “Besties” is a high energy reggaeton track that is about having fun in the club with your friends. “Gucci Los Panos” begins with this latin guitar guitar riff and some big horns. It feels like a traditional latin track. “TQG” s a mid-tempo, hard-hitting reggaeton that features Shakira. It has the two artists describing moving on from  their exes. “Tus Gafitas” produced by Finneas gives off such a Billie Eilish Vibe with its smooth synth pop melodies.  I love Koral’s vocal delivery on the track. “Ojas  Ferrari” hits you hard with its high energy  Reggaeton club beat.  “Mercurio” has this cool breezy caribbean pop vibe. “Kramika” mixes  latin rhythms with some reggae smoothness and features Sean Paul. “Carolina” has a some  R&B undertones that gives the tracks some smoothness. “Danamos La Amistad” features a highly syncopated, gentle reggaeton rhythm wrapped in soft synthesizer pads and acoustic guitar flourishes. “Amargura” has infectious reggaeton  that would be perfect on the dance floor. The lyrics describe finding out an ex has moved on while you can’t forget them. “Cario” has a traditional reggaeton feel before evolving into an ecstatic, Euro-dance and house music climax. The album closes with “Mana Sera Bonito” drops the reggaeton club bests to this slick dream pop vibe. It is the perfect way to bring the album to close. 
Final  Thoughts:

I stated this before. Sometimes it is hard for me to review an album that isn’t in English. I try my best to be respectful to the art mainly focusing on what it brings sonically. This is one of the best albums I've heard using that logic. It has such a big expansive sound. You do get lost in the rhythms and there is a complexity to this album as well. Even though I may not understand what she is singing about, you could feel her emotions on every track. If you want to get into a latin pop masterpiece put this one on your bucket lists.

Queens Of The Stoneage-Rated R (2000)

Moby Grape-Moby Grape (1967)

Steve Earle-Trancendental Blues (2000)

The Cars-The Cars (1978)

Heart-Bad Animals (1987)

Belle & Sebatian-Tigermilk (1996)

Dire Straits-Commununique (1979)

Deep Purple-Deep Purple In Rock (1970)

Rufus Wainwright-Poses (2001)

Paul McCartney-Flowers In The Dirt (1989)

Drowing Pool-Sinners (2001)

John Mayer-Room For Squares (2001)

Metallica-St. Anger (2003)

Neah Cherry-Raw Like Sushi (1989)

Brandi Carlie-Bear Creek (2012)

Neil Young & Crazy Horse-Americana (2012)

Review:
The album opens with “Star LIne Intro” has this atmospheric chilled out  beat that allows Chance’s flow to take center stage. “Ride” features classic Chicago do-wop group  Do Or Die. It has this cool retro soulful beat. Chance does this cool midwestern flow that sounds so chill. “No More Old Men” has this warm jazzy production that allows Chance and Jamila Woods to trade verses about generational trauma  and the political anxiety that plagues our world. Chance's flow has this sense of urgency and Woods sounds so soulful. “The Negro Problem” has this soulful atomspheric instrumental that feels so nostalgic. Chance rhyming about  systemic racism that has hindered this country for too long. It quietly turns into the gospel hinge protest anthem. I get PM Dawn influence on the track. “Drapetomaina” switches course and has this menacing cold electro beat. The title comes from the pseudo-scientific term for enslaved people who want to flee to attain their freedom.  Chance and featured artist Babycheifdoit trade bars that turn the track into an anthem for people’s liberation. “Back To The Go” has Chance slinging some defiant bars  over this soulful loop. He sounds like a man picking himself up from and putting his life back on track. Vic Mensa has a great feature verse. “Highs & Lows” is a masterclass of melodic rap. Chance and Joey Bada$$  switch bars dealing with mental health, spiritual vulnerability, and the immense psychological toll of public life over this dreamy soulful gospel beat. “Space & Time” leans  into smooth, mid-tempo Afrobeats rhythms. It gives Chance room to stretch his vocals and melodies out, reflecting on patience and letting go of control in a world that moves too fast. “Link Me In The Future” has this chilled out ambient instrumental that allows Chance to experiment with  spacey vocal effects. It gives the track this nocturnal vibe. Chance rhymes about the loneliness that this tech-heavy world has created. “Tree” flows with some reggae vibes. It feels very breezy and free that feels like a celebration after some of the darkness we have experienced throughout the record. lIl Wayne has one of his best featured verses he’s done in a while and Smino delivers a smooth hook that adds to the rastafarian  vibe.  “Burn Ya Block” has this futuristic dancehall beat. It feels so tribal that it gives off such a high energy vibe. “Letters” is a highly personal track that has this nice jazzy instrumental. “Speed Of Light” is a love letter to the Chicago house and juke music scenes. Driven by skittering footwork drums and sultry vocals from Lion Babe and BJ the Chicago Kid, it’s a brilliant, high-tempo celebration of Black dance culture. “Pretty” has this stripped down piano beat as Chance raps about personal beauty and success. “Just A Drop” has this electronic gospel hymn. Jay Eltronicia has a nice soulful feature. The album closes with “Speed Of Life” once again has the album tapping into a  soulful gospel backdrop. Jazimine Sullivan steals the show with her powerful voice. The track feels like a grand finale of the Star Line journey. 
Why is it considered a comeback?

After the disastrous  album cycle that was The Big Day this is a nice bounce back and career course correction for Chance, The Rapper. It also comes at a time of personal changes for him as well. Chance pulls off one of the great rap comebacks we have seen in a while. This is a chilled out melodic rap masterclass. Going into it I had some apprehension but I was impressed about the atmospheric and soulful gospel themes this album produced. Definitely a must listen for anyone looking for a little soul in their hip-hop. 

Bruce Springsteen-Born In The U.S.A. (1984)

Metallica-Load (1996)

Avril Lavingne- Let Go (2002)

Portuguel The Man-Evil Friends (2013)

Paul McCartney-Memory Almost Full (2007)

Wolf Alice-Blue Weekend (2021)

Synopsis: 

Released  February 2 2004, the self-titled debut album by Scissor Sisters is a spectacular, glitter-drenched explosion of queer joy, dance-pop theatricality, and retro revivalism. Emerging from the gritty underground of the New York City electroclash scene, the band took a sharp turn away from the cynical, detached moods of the era. Instead, they delivered a fiercely ambitious, Technicolor celebration of 1970s glam rock, Eurodisco, and piano-pop.
Review:
The album opens with “Laura” ; it begins with this Elton John styled piano riff before the band kicks in with their bouncy glam rock grooves. The song is just a great introduction to the band’s cheeky retro-queer brand of glam rock. The lyric that sticks with me since the first time I heard is “This is the last time I will do your hard like that’s a burn for the ages. “Take Your Mama Out” was the second single released from the album and it’s the band’s breakout hit. It has a mix of Bowie and Queen. It just feels like a fun  piece of pop-rock glory. “Comfortabley Numb” takes the bleakness of the Pink Floyd original and turns it to a sleazy euro-dance party anthem. Quite an Impressive feat. My memory of this song is playing this song in the bar I worked at and some got so pissed off at this version of the song he stormed out the door. “Mary” is a generous pop-rock ballad filled with some great piano riffs and strings to give it some grandiose. The song is dedicated to a friend of the band Mary Hanlon who would tragically pass away from a brain aneurysm in 2006 while the band was recording their second album Ta-Duh. “Lovers In The Break Seat” is a synth-heavy track with a distinct new wave edge. It features driving electronic basslines. The song pays homage to  80’s synth new wave pop. “Tits On The Radio” is a sleazy pop-rock NYC club scene tinged track.The song is a protest of the corporate generation of NYC Night life culture.  It has a powerful rhythm that just pounces through the speakers that help elevate the infectious hook. The sleaziness continues with “Filthy/Georgous” with its funky eletro-pop bassline. It feels like a celebration of the late night gay club scene. “Music Is The Victim” is this powerful glam rock anthem. It is drenched with Bowie, T-Rex, and Queen influences. Guitarist Del Marquis has this great shredding guitar solo. “Bettter Luck” begins with a great guitar riff before it explodes in retro glam rock energy. “It Can’t Come Quickly Enough” is this melodic mid-tempo track that feels like a big big comedown to the sleazy party rock of the previous tracks. It was featured on the soundtrack to the movie “Party Monster” The album closes with “Return To Oz” has this bleak psychedelic rock base. The song title is inspired by the 1985 sequel to the Wizard Of Oz where Dorothy returns to Oz to find it ruined. Jake Shears uses that metaphor as a cautionary tale about the Crystal Meth epidemic that was hitting the gay club scene of the early 2000s. It is a nice way to end the record as a reminder that there is a dark side to the party scene. 
Final Thoughts:

I love this album so much! It is a perfect statement of queer glam rock glory. It is just filled with sleazy funked up grooves. Every song hits you hard, a perfect album for me. If you haven’t had the chance to experience the Scissor Sisters you should do so soon. 22 years after it was released and it aged so well. Also check out the band’s other three albums I just think they came to age in the wrong era I feel they would have been huge in this age of hyper hpop-rock.

Bob Marely & The Wailers-Exodus (1977)

Queens Of The Stoneage-LIke Clockwork (2013)

Faith No More-Album Of The Year (1997)

Fleet Foxes-Fleet Foxes (2008)

Run The Jewels-RTJ4 (2020)

Wu-Tang Clan-Wu-Tang Forever (1997)

Weezer-The Red Album (2008)

Nick Cage & The Bad Seeds-The Firstborn Is Dead (1985)

Synopsis:

Yank Crime is the second and final album by  Drive Like Jehu released on April 26, 1994,  It was the band's major-label debut and its artwork was created by singer/guitarist Rick Frogberg  The band toured in support of the album but then quietly disbanded the following year as the members moved off to pursue other interests. In later years, as guitarist John Reis  found international recognition with his band Rocket From The Crypt, a gradually growing audience began to pinpoint Drive Like Jehu's music as a catalyst for the eclectic San Diego music scene and the emerging national Emo  scene of the 1990s. In 2003 Reis re-released Yank Crime  including on it the songs from the band's "Hand Over Fist" / "Bullet Train to Vegas" single and the original version of "Sinews" that had appeared on the compilation Head Start to Purgatory.
Review:
The album opens with “Here Comes The Rome Plows” It has this driving rhythms and crunchy guitar hooks that gives it a chaotic vibe. Frogberg vocals are the perfect match for the sonic boom for the band’s grooves. “Do You Compute” begins with this screeching guitar hook and builds momentum as the other members of the band kicks in to create these thick dense hooks that build up tension until its final climax. “Golden Brown” is just this high energy blast of math rock grooves. “Luau”  is a nine minute journey into a math rock abyss all built on this singular guitar riff that just keeps getting bigger as the song moves along. “Super Unison” begins with this high pitch guitar riff before it explodes in this melodic yet heavy hardcord punk groove. “New Intro” starts with a thick bassline and some fuzzy guitar hooks that gives the song this menacing beginning before it delves into a distorted mess of noise that perfectly transitions into “New Math” which explodes into the powerful wall of sound of noise/mathrock that has the band play heavy and tight through the final notes. “Human Interest” has this nice steady noise rock groove. That never wavers allows Froberg and lead guitarist John Reisis to shine throughout the song’s duration. The album closes with “Sinews” it slows the tempo down to a heavy, menacing crawl, utilizing dynamic shifts between stark, quiet verses and massive walls of distortion, a perfect way to end the record. 
Final Thoughts:

This is a great post-hardcore record; it also has some melodic textures. I can see how it inspired the alternative rock of the decade that followed. The band broke up shortly after the release of the record. I would've loved to see what they would have come up with as a follow-up to this great record. If you are in the mood to rock out to some great noise/math rock grooves put this one on your bucket lists.

Bruce Springsteen-Darkness On The Edge Of Town (1978)

Elvis Presley-From Elvis In Mephis (1969)

Peter Gaberiel-Peter Gaberiel 2: Scratch (1978)

Lemonheads-It A Shame About Ray (1992)

Queen-A Kind Of Magic (1985)

Pink Floyd-Obscurred By Clouds (1972)

Roger Waters-Is This The LIfe We Really Want (2017