OH, OH, if you haven't heard it, I'd highly recommend watching this song of his performance with Les Claypool's Bucket of Bernie Brains at the first Bonnaroo. Then there are of course the 273(?) Pike albums, which I had been holding off on for a while myself, so I can't comment much on those, aside from saying that they are also awesome from what I've listened to so far. If you like those, then you can move on to stuff like Monsters & Robots, Electric Tears, or, if you want to get a bit more weird, Kaleidoscalp.
It's overall a bit more subdued than what BH usually does, but it still has plenty of rocking as well. Population Override - This is one of his most cohesive albums, in that it all blends together extremely well. Honestly, this album can be a great gauge to see whether Buckethead is a musician who you might enjoy in general. By that I mean it incorporates the things he uses as tropes throughout much of his discography: weird dialogue before, during, and at the end of certain tracks a healthy dose of pop culture references a few slow tracks a few experimental tracks some good old rocking (almost classic rock sounding at some points) and, of course, plenty of straight up shredding and heavy metal. Giant Robot - While I personally like Crime Slunk Scene the best, I feel like Giant Robot is the most representative of Buckethead. CRIME SLUNK SCENE is a continuous battle between the laid back and the hyperactive as styles shift around abruptly and unexpectedly. Crime Slunk Scene is one of the two best and most entertaining albums I own, its unadulterated, uninterrupted, lively, uplifting, spectacularly masterful guitar from ultra addictive 'King James' start to the fantastically brilliant 'Slunk Parade' finish with literally no lapses of excellence in between. This is honestly probably my personal favorite Buckethead album, and I think a lot of BH fans feel the same way. Is there a limit to how much one can take? Probably, but I don’t think we’ve reached it yet.Crime Slunk Scene - Probably the most approachable, but don't confuse that with a lack of creativity. But Shadows is a whole different world and just incredible to ease into and enjoy. The last few songs are a bit much to handle for. This is NOT everybodys cup of tea, but for the music lover that wishes to dig in to something totally unique, but extremely awesome, this comes highly recommended. All of this is super fun, deliciously catchy, and surprisingly memorable. He loves music, loves his fans, and shows it by his nonstop releases of explored styles. I tend to favor Crime Slunk Scene more - in fact I was shocked at how much I liked every OTHER song besides Soothsayer, as well. Crime Slunk Scene seriously is a classic Buckethead album. The worst thing I could do here is be unappreciative of this artist. Tracks like “Interview With The Double Man” and the two-part “Wormwood’s Workshop” are most definitely welcome pieces. Perhaps more experimental than most of his other recent work, Needle in a Slunk Stack is vastly different than the most beloved albums from Buckethead such as Colma or Population Override. And for that, a never ending respect and appreciation of the artist forms, even if at times I yearn for something else. He shreds and does so different than anyone else in the game can. It’s simply more of what we Buckethead fans love the guy for. I personally don’t think he’s had a truly classic and great album since Inbred Mountain came out back in 2005 and Crime Slunk Scene in 2006, even though he has produced a plethora of work since then.īut don’t take this as a negative review for this latest offering. I still just don’t think Buckethead’s latest work is as enjoyable for me as his earlier stuff. I don’t know, maybe nostalgia is getting to me.
Giant Robot was the first album I ever listened to from the guitar virtuoso and that album, unlike his more recent efforts, is one I do find myself going back to more often. And while the technical ability of Buckethead is still to be found, the playful fun of his older work isn’t. But something is amiss in his last few albums, and this continues into his latest offering, Needle in a Slunk Stack, his twenty-eighth studio album.ĭon’t get me wrong, like all his albums, this one shreds, and does so in the most experimental ways. I’m never going to stop listening to and loving Buckethead.
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