Chris Kriofske
@chriskriofske.bsky.social
This is my happening and it freaks me out.
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100. Flat Duo Jets, “Introducing” (1993): Neko Case raved about ‘em in her memoir, the White Stripes arguably wouldn’t exist w/out ‘em & admittedly, 20 tracks in 40 minutes is pretty punk. I can get with their reverb-heavy garage rockabilly though I wish it were wilder & much weirder than this.
November 21, 2025 at 10:17 PM
100. Flat Duo Jets, “Introducing” (1993): Neko Case raved about ‘em in her memoir, the White Stripes arguably wouldn’t exist w/out ‘em & admittedly, 20 tracks in 40 minutes is pretty punk. I can get with their reverb-heavy garage rockabilly though I wish it were wilder & much weirder than this.
99. Scritti Politti, “Early” (2005): The process of finding one’s self in their art as compiled juvenilia. Skanking bass, angular guitars, a snatch of glockenspiel and Gartside pre-falsetto vocally resembling a post-punk George Harrison. Fairly rough whereas his later output seems endlessly smooth.
November 20, 2025 at 10:29 PM
99. Scritti Politti, “Early” (2005): The process of finding one’s self in their art as compiled juvenilia. Skanking bass, angular guitars, a snatch of glockenspiel and Gartside pre-falsetto vocally resembling a post-punk George Harrison. Fairly rough whereas his later output seems endlessly smooth.
98. The Dandy Warhols, “Odditorium Or Warlords of Mars” (2005): Tailored (Taylor-Taylor-ed?) to appease hardcore fans & repulse everyone else. I’m more a periodic admirer & might’ve hated it 20 years ago, but it’s solid except for the lengthy closer & the one where Courtney emulates Robert Smith.
November 20, 2025 at 3:42 AM
98. The Dandy Warhols, “Odditorium Or Warlords of Mars” (2005): Tailored (Taylor-Taylor-ed?) to appease hardcore fans & repulse everyone else. I’m more a periodic admirer & might’ve hated it 20 years ago, but it’s solid except for the lengthy closer & the one where Courtney emulates Robert Smith.
97. Oranger, “Everyone Says You’re A Lot of Fun” (2023): Twenty years after the great “Shutdown The Sun” (I was assigned to review it for a website), their uber-melodic power-pop’s still intact but a tad less dynamic & driven as if to say, “We can still do this (if not as robustly as we once did.”)
November 18, 2025 at 11:50 PM
97. Oranger, “Everyone Says You’re A Lot of Fun” (2023): Twenty years after the great “Shutdown The Sun” (I was assigned to review it for a website), their uber-melodic power-pop’s still intact but a tad less dynamic & driven as if to say, “We can still do this (if not as robustly as we once did.”)
96. Ghost of Vroom, “Ghost of Vroom 1” (2021): This Mike Doughty project’s the Soul Coughing equivalent of “Garfield w/out Garfield”. A novelty for longtime fans even if so much of it could’ve come out 30 years ago, though towards the end (“John Jesus Angleton”) it begins transcending such confines.
November 17, 2025 at 10:01 PM
96. Ghost of Vroom, “Ghost of Vroom 1” (2021): This Mike Doughty project’s the Soul Coughing equivalent of “Garfield w/out Garfield”. A novelty for longtime fans even if so much of it could’ve come out 30 years ago, though towards the end (“John Jesus Angleton”) it begins transcending such confines.
95. Mark Hollis, “S/T” (1998): As with the last two Talk Talk LPs, this defies categorization & discourages casual listening; it follows that a solo project would feel even sparer although the quantity of ideas present doesn’t render it minimalist. An inevitable farewell but I wish he’d done more.
November 15, 2025 at 2:26 PM
95. Mark Hollis, “S/T” (1998): As with the last two Talk Talk LPs, this defies categorization & discourages casual listening; it follows that a solo project would feel even sparer although the quantity of ideas present doesn’t render it minimalist. An inevitable farewell but I wish he’d done more.
94. Marine Girls, “Lazy Ways/Beach Party” (1983/1981): Tracey Thorn’s all-female pre-EBTG band, their two albums of skeletal DIY pop startle for their effort & ingenuity: amateurish but charming, not linked to any scene, emulating the Ramones’ approach w/out sounding like anyone but themselves.
November 13, 2025 at 5:05 PM
94. Marine Girls, “Lazy Ways/Beach Party” (1983/1981): Tracey Thorn’s all-female pre-EBTG band, their two albums of skeletal DIY pop startle for their effort & ingenuity: amateurish but charming, not linked to any scene, emulating the Ramones’ approach w/out sounding like anyone but themselves.
93. Michel Polnareff, “Polnareff’s” (1971): My kind of weirdo: psychedelia w/out trying to be “trippy”, sudden shifts in tempo, many out-of-nowhere diversions (galloping “…Mais Encore” could’ve been arranged for Tom Jones.) He’s nearly a French Os Mutantes & if that odd combo appeals, check it out.
November 13, 2025 at 12:17 AM
93. Michel Polnareff, “Polnareff’s” (1971): My kind of weirdo: psychedelia w/out trying to be “trippy”, sudden shifts in tempo, many out-of-nowhere diversions (galloping “…Mais Encore” could’ve been arranged for Tom Jones.) He’s nearly a French Os Mutantes & if that odd combo appeals, check it out.
92. Miles Davis, “A Tribute to Jack Johnson” (1971): More compact, accessible & fun than “Bitches Brew” (which I do love). I tend to pick rock over jazz given the choice but this suggests one doesn’t need to choose just one. Also liked the snippet of “In A Silent Way”, my most listened to Miles LP.
November 11, 2025 at 6:59 PM
92. Miles Davis, “A Tribute to Jack Johnson” (1971): More compact, accessible & fun than “Bitches Brew” (which I do love). I tend to pick rock over jazz given the choice but this suggests one doesn’t need to choose just one. Also liked the snippet of “In A Silent Way”, my most listened to Miles LP.
91. Julie Byrne, “The Greater Wings” (2023): Takes as much strength to sing quietly, like another instrument within the arrangement as it does to be the engine powering the song. She’s understated by nature but never overpowered by the music even if it may take a few spins for the whole to connect.
November 10, 2025 at 9:21 PM
91. Julie Byrne, “The Greater Wings” (2023): Takes as much strength to sing quietly, like another instrument within the arrangement as it does to be the engine powering the song. She’s understated by nature but never overpowered by the music even if it may take a few spins for the whole to connect.
90. Gruff Rhys, “The Almond and The Seahorse” (2023): Was expecting a primarily instrumental/orchestral soundtrack (there’s plenty of the former stuff at the end) but the excess of songs w/vocals renders this not far off from yer usual LP from the guy, only flabbier (it’s a soundtrack, after all.)
November 7, 2025 at 10:58 PM
90. Gruff Rhys, “The Almond and The Seahorse” (2023): Was expecting a primarily instrumental/orchestral soundtrack (there’s plenty of the former stuff at the end) but the excess of songs w/vocals renders this not far off from yer usual LP from the guy, only flabbier (it’s a soundtrack, after all.)
89. Beyonce, “Cowboy Carter” (2024): I long for the restraint of a super-tight single album instead of this CD-length behemoth, but it showcases her range arguably better than “Renaissance” did with inspired covers & at least a half-dozen classic originals (why wasn’t the zippy “Ya Ya” a single?)
November 6, 2025 at 9:56 PM
89. Beyonce, “Cowboy Carter” (2024): I long for the restraint of a super-tight single album instead of this CD-length behemoth, but it showcases her range arguably better than “Renaissance” did with inspired covers & at least a half-dozen classic originals (why wasn’t the zippy “Ya Ya” a single?)
88. Trio Bulgarka, “Best Of” (2008): They collaborated with Kate Bush & their appearance in Leah Kardos’ 33 1/3 book on “Hounds of Love” moved me to hear more. The a cappella tracks best display how unique their voices blend but the rest is unobtrusive until it goes too heavy on synths near the end.
November 6, 2025 at 4:20 AM
88. Trio Bulgarka, “Best Of” (2008): They collaborated with Kate Bush & their appearance in Leah Kardos’ 33 1/3 book on “Hounds of Love” moved me to hear more. The a cappella tracks best display how unique their voices blend but the rest is unobtrusive until it goes too heavy on synths near the end.
87. Mel Torme, “Mel Torme’s California Suite” (1957): Mel’s in excellent voice here & the whole thing emits a dry-martini cool that renders its earnestness even more palatable. Gets a little snoozy in the second half, perhaps, but I’ll play it whenever I think of Palm Springs & cruising on the PCH.
November 5, 2025 at 12:13 AM
87. Mel Torme, “Mel Torme’s California Suite” (1957): Mel’s in excellent voice here & the whole thing emits a dry-martini cool that renders its earnestness even more palatable. Gets a little snoozy in the second half, perhaps, but I’ll play it whenever I think of Palm Springs & cruising on the PCH.
86. Redd Kross, “Redd Kross” (2024): Endearingly sloppy, impassioned power pop is what they’ve always excelled at; a S/T 18-track edition of it risks being seen as calculated, but whatever, it works to a degree where by the time it reaches “Born Innocent”, receptive listeners should be all grins.
November 4, 2025 at 12:27 AM
86. Redd Kross, “Redd Kross” (2024): Endearingly sloppy, impassioned power pop is what they’ve always excelled at; a S/T 18-track edition of it risks being seen as calculated, but whatever, it works to a degree where by the time it reaches “Born Innocent”, receptive listeners should be all grins.
85. Bob Dylan, “Rough and Rowdy Ways” (2020): After years of wheezing his way through the standards, he drops this about-face as if to say, “I’m still Dylan, and you’re not.” He does, in fact, contain multitudes & even has something worth saying about JFK. Does he have another one of these in him?
October 31, 2025 at 7:48 PM
85. Bob Dylan, “Rough and Rowdy Ways” (2020): After years of wheezing his way through the standards, he drops this about-face as if to say, “I’m still Dylan, and you’re not.” He does, in fact, contain multitudes & even has something worth saying about JFK. Does he have another one of these in him?
84. The Chills, “Kaleidoscope World” (2016): 24-track version. Early singles comp runs the gamut from DIY postpunk (“Bite”) to lush janglepop (“Doledrums”) & occasional nods to kindred spirits the Soft Boys (“Dream By Dream”) & The Go-Betweens (“Pink Frost”). In other words, essential 1980s indie.
October 30, 2025 at 10:25 AM
84. The Chills, “Kaleidoscope World” (2016): 24-track version. Early singles comp runs the gamut from DIY postpunk (“Bite”) to lush janglepop (“Doledrums”) & occasional nods to kindred spirits the Soft Boys (“Dream By Dream”) & The Go-Betweens (“Pink Frost”). In other words, essential 1980s indie.
83. Siouxsie and The Banshees, “A Kiss In The Dreamhouse” (1982): They’re more of a singles-than-albums band than even The Cure. This one’s decent but it’s the only place to easily find the great “Fireworks” (as a bonus track) which led off the now deleted singles comp that was my introduction.
October 29, 2025 at 10:04 PM
83. Siouxsie and The Banshees, “A Kiss In The Dreamhouse” (1982): They’re more of a singles-than-albums band than even The Cure. This one’s decent but it’s the only place to easily find the great “Fireworks” (as a bonus track) which led off the now deleted singles comp that was my introduction.
82. Kendra Smith, “Five Ways of Disappearing” (1995): This surveys the hypnotic drone you’d expect from an ex-Dream Syndicate member so the relatively jaunty tunes (“In Your Head”, “Maggots”) are welcome surprises. Has a touch of that mid-90s CD-era bloat but given her absence since, I’ll take it.
October 28, 2025 at 8:39 PM
82. Kendra Smith, “Five Ways of Disappearing” (1995): This surveys the hypnotic drone you’d expect from an ex-Dream Syndicate member so the relatively jaunty tunes (“In Your Head”, “Maggots”) are welcome surprises. Has a touch of that mid-90s CD-era bloat but given her absence since, I’ll take it.
81. George Russell, “New York, N.Y.” (1959): Cool east coast orchestral jazz with peppy spoken interludes from Jon Hendricks, Rodgers & Hart’s “Manhattan” fitting in beautifully alongside the “East Side Medley” (“Autumn In New York/How About You”), ideal for cocktails or strolling through any city.
October 27, 2025 at 7:30 PM
81. George Russell, “New York, N.Y.” (1959): Cool east coast orchestral jazz with peppy spoken interludes from Jon Hendricks, Rodgers & Hart’s “Manhattan” fitting in beautifully alongside the “East Side Medley” (“Autumn In New York/How About You”), ideal for cocktails or strolling through any city.
80. AHI, “The Light Behind The Sun” (2025): If his rousing 2021 single “Danger” was reminiscent of prime Seal, this is closer to the later, adult-contemporary version: tasteful, understated & sadly, bland. The simple song titles also don’t help distinguish this pleasant but unmemorable product.
October 24, 2025 at 11:46 PM
80. AHI, “The Light Behind The Sun” (2025): If his rousing 2021 single “Danger” was reminiscent of prime Seal, this is closer to the later, adult-contemporary version: tasteful, understated & sadly, bland. The simple song titles also don’t help distinguish this pleasant but unmemorable product.
79. Matt Berry, “Gather Up (Ten Years On Acid Jazz)” (2021): He’d be better known for his music if he sang as well as he spoke but at least he doesn’t half-ass it (as L. Cravensworth might remark.) A magpie devoted to post-Beatles, pre-Nirvana pop & this comp’s enough to make me want to hear more.
October 23, 2025 at 9:00 PM
79. Matt Berry, “Gather Up (Ten Years On Acid Jazz)” (2021): He’d be better known for his music if he sang as well as he spoke but at least he doesn’t half-ass it (as L. Cravensworth might remark.) A magpie devoted to post-Beatles, pre-Nirvana pop & this comp’s enough to make me want to hear more.
78. Bee Gees, “Odessa” (1969): Long-praised as their pre-disco magnum opus, I was relieved it turned out to be more than sentimental ballads like single “First of May”. The orchestral stuff conjures up a Beatles trying to top Sgt Pepper’s while a dozen other left turns legitimize their weirdness.
October 23, 2025 at 12:18 AM
78. Bee Gees, “Odessa” (1969): Long-praised as their pre-disco magnum opus, I was relieved it turned out to be more than sentimental ballads like single “First of May”. The orchestral stuff conjures up a Beatles trying to top Sgt Pepper’s while a dozen other left turns legitimize their weirdness.
77. Laurie Anderson, “Amelia” (2024): A typically idiosyncratic spin on Earhart’s life, embodying both the external & internal chaos that has remained her specialty since “O Superman”. ANONHI’s a welcome addition even if relegated to the mix; still prefer Joni Mitchell’s *song* of the same name.
October 21, 2025 at 11:04 PM
77. Laurie Anderson, “Amelia” (2024): A typically idiosyncratic spin on Earhart’s life, embodying both the external & internal chaos that has remained her specialty since “O Superman”. ANONHI’s a welcome addition even if relegated to the mix; still prefer Joni Mitchell’s *song* of the same name.
76. Sofia Kourtesis, “Madres” (2023): Deep into the night at the club, everything’s kicking in, the music’s a bit of a blur but still registers (if only as background noise), feeling secondary yet you can’t imagine it not being there, it adds something vital even if you can’t articulate what it is.
October 20, 2025 at 9:53 PM
76. Sofia Kourtesis, “Madres” (2023): Deep into the night at the club, everything’s kicking in, the music’s a bit of a blur but still registers (if only as background noise), feeling secondary yet you can’t imagine it not being there, it adds something vital even if you can’t articulate what it is.