Year: 2011.
Country:
St. Vincent discography rank: 2 (out of 9 listed on BEA)
2011 rank: 11
2010s rank: 100
Overall rank: 681
Average rating: 79/100 (from 555 votes).
Tracks:
1. Chloe In The Afternoon
2. Cruel
3. Cheerleader
4. Surgeon
5. Northern Lights
6. Strange Mercy
7. Neutered Fruit
8. Champagne Year
9. Dilettante
10. Hysterical Strength
11. Year Of The Tiger
indicates a top-rated track.
Top voted comments:
"I was playing this at work and one of the customers I usually banter with said this was like the craziest orgasm he ever heard. I think it was a compliment"
- User not found
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"Annie embraces the chaos, and it's a gorgeous hot mess. Dilletante is a paranoid instant classic, Northern Lights is a marvel of battling guitars and Champagne Year is a hushed, pure beaut... just a fantastic album"
- User not found
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About album of the day: The BestEverAlbums.com album of the day is the album appearing most prominently in member charts in the previous 24 hours. If an album, or artist, has previously been selected within a x day period, the next highest album is picked instead (and so on) to ensure a bit of variety. A full history of album of the day can be viewed here. _________________ Bluesky · Facebook · Spotify · X
I think this was the last album that (fudge I can't really say this without sounding corny) I could actually feel immersed in, even if it's true it was going for a slightly wider appeal than her very art-school-ish first couple of albums. Her other albums are often extremely technically impressive on the composition front and full of very well-written songs overall, but I donno there's this feeling that she's built up such a self-imposing messianic persona that has created a thick glass ceiling of sorts between her and even her own music... as well as the listener. TLDR last album of hers I've actually enjoyed listening and returning to, everything else felt like a very textured but ultimately ephermal hologram of sorts (jfc what am I talking about)
I think this was the last album that (fudge I can't really say this without sounding corny) I could actually feel immersed in, even if it's true it was going for a slightly wider appeal than her very art-school-ish first couple of albums. Her other albums are often extremely technically impressive on the composition front and full of very well-written songs overall, but I donno there's this feeling that she's built up such a self-imposing messianic persona that has created a thick glass ceiling of sorts between her and even her own music... as well as the listener. TLDR last album of hers I've actually enjoyed listening and returning to, everything else felt like a very textured but ultimately ephermal hologram of sorts (jfc what am I talking about)
There's a performative element to her albums after this that kind of undermines what's wonderful about the first three. Even when she gets more personal, like on Daddy's Home, it doesn't quite hit. She feels a little high on her own supply (although, I do think she's slowly getting it back). _________________ Inversion Verses
https://thesplitinfinitives1.bandcamp.com/album/inversion-verses
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