The three hundred and eighty-seventh album: #387 Iggy Pop - The Idiot
While I've praised Bowie's work before - both his own work and that where he produces - it's a style that that doesn't always work either. While I've enjoyed Iggy Pop's punk stylings with the Stooges before, the smoother style doesn't suit him. His voice is a bit off in places, and where it isn't it sounds so much like a Bowie track that I thought he was performing at several points. It's not bad rock, but it's also not great - they're more some of Bowie's B-sides than a good Iggy Pop album.
The one hundred and thirty-ninth classical recording: #246 Franz Schubert - Piano Trio in B flat major
As mentioned before, a lot of works like this are fairly abstract, and while I enjoy them it's hard to say something new about them. There's an energy in Schubert's work that's infectious, even the slower parts of the work have multiple things going on. They're well constructed, building well, and lovely to listen to.
The three hundred and eighty-sixth album: #386 Suicide - Suicide
With a heavy electronic sound, Suicide's rock stands out from its contemporaries. It doesn't go all in on the electronic sound - this is no Kraftwerk - but it presages later electronic work by leaning into that sound in a way that later works go for. It's the stronger fusion with rock music - not quite punk, not quite anything else that follows - that makes it feel a bit odd, with odd (semi-?)lyrics that don't fit anywhere else either. The album is an experience, that's for sure, but not one that's easy to absorb.
The three hundred and eighty-fifth album: #385 Dennis Wilson - Pacific Ocean Blue
Pacific Ocean Blue sits there as a pleasant album to listen to without demanding much of you. From its Beach Boys legacy, it's more demure, not complex even if there are some parts with a big production elements to it. It's nice, not challenging, but just a happy set of songs to listen to.
The one hundred and seventy-ninth TV show: #181 Colditz
I'm not a major fan of war dramas - there's a tone to it in British and American productions that feels naive. Colditz, to be fair, doesn't make the Germans out entirely as unapologetic monsters, and most of the escape plans out of the prison don't necessarily go as well as they should, but there's an odd worship of the British officer that feels weird. Add to that the choice to have the series start with a number of episodes that happen away from the titular Colditz, introducing a few of the characters but not really setting the stage for that much. It creates a story I don't feel as invested in, in a setting I care little for. There are some good performances, but there's nothing more there that I care about.