Explore the overall rankings of the best albums in history, based on over 2 million album rankings across 60,000 charts. Click to see how the rankings are calculated
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"The Strokes are among the handful of bands to blame for the new rise of indie rock in the early 2000s. Their debut album Is This It is one of the best rock albums of the naughties, and the band also released a couple of nearly as good follow-ups. After slowly disappearing from the rock music rada...""The Strokes are among the handful of bands to blame for the new rise of indie rock in the early 2000s. Their debut album Is This It is one of the best rock albums of the naughties, and the band also released a couple of nearly as good follow-ups. After slowly disappearing from the rock music radar and releasing some quite horrid albums during the 2010s (and jokingly referring to the last decade as a vacation) the band is now back. Bigger and bolder than ever.
The New Abnormal is a wonderful return to form. It's a nostalgic callback to the Is This It era and a love letter to fans. The sound is significantly less garage and closer in style to synth-rock and new wave, but the soaringly beautiful guitar riffs and funky rhythm are back, coupled with strong choruses and fine vocals. The Strokes have never sounded this confident or this vulnerable before. In terms of sound, the album feels like a natural development - at its core, The New Abnormal sounds like an early The Strokes record, but the melodies have been updated with modern influences, giving the record a fresh electronic sound.
The first half of the album focuses on up-tempo tracks, and it's closest in style to the early Strokes sound. The latter half slows things down and puts a darker, more depressing twist to the band's music. Both halves are equally great, for different reasons. The first half due to the nostalgic sound, the second half for its riveting melodies. Together, they form an album that could very well be the best since This Is It. "[+]Reply
"Finally, The National have made the album I always knew they were capable of making. Their past two albums have all been very good, but nothing too amazing, but there was a lot of potential that I could hear there. But now, with “Trouble Will Find Me", they’ve finally realized that potential and ...""Finally, The National have made the album I always knew they were capable of making. Their past two albums have all been very good, but nothing too amazing, but there was a lot of potential that I could hear there. But now, with “Trouble Will Find Me", they’ve finally realized that potential and created an incredible album with it. Beautifully introspective, the music plays right into Matt Berninger’s baritone voice and blends together to make a beautiful coherent piece.
Perhaps one of my favorite things about this album are the peripherals, the things that are going on instrumentally in the background. They’re not the focus of the songs, but they enhance the songs so much. This is what The National is capable of and I am so glad they’ve made this album."[+]Reply
"A stone cold classic of the era, and the best of it's genre (AOR, album-oriented rock, now called Classic Rock). Yes, Elvis Costello and The Clash were out there, but we didn't realize it at the time. Timeless mainstream rock that still sounds great."Reply
"Brian Wilson's genius aside is this the lost masterpiece we all wish to believe it to be? I might be the biggest Beach Boys fan in this site so I have to take this with grain of salt. I've always hated Vegetables and Mrs. O'Leary's Farm gives me gas like no other 'classic' album section since sid...""Brian Wilson's genius aside is this the lost masterpiece we all wish to believe it to be? I might be the biggest Beach Boys fan in this site so I have to take this with grain of salt. I've always hated Vegetables and Mrs. O'Leary's Farm gives me gas like no other 'classic' album section since side two of Abbey Road. That aside Our Prayer, Cabin Essence, Wonderful and Good Vibrations are as great as any set of songs as anything EVER put in the same package. So like any great Beach Boys album there's clunkers with the inspired (or perfect).
The album is not as cohesive as Pet Sounds so it fails to top THE Masterpiece. But as I write this Good Vibrations is pumping in to my headphones and I'm as close to G-d as I can get.
Inventive, original, vocally stunning, lyrically frustrating (like Forever Changes swallows the Dylan obscurity handbook) and utterly fascinating. And since Brian put this together I'm willing to accept it as the LOST classic. I've maintained that Brian's 2004 effort was beautiful but flawed. There's NOTHING like listening to the original harmonies. Excepting the Four Freshman and the Mama's and the Papa's there's no other vocal harmonies close to those on this album. The sound is rich, textured and luxurious. And I simply prefer the sixties analog to modern digital production.
Final thought. This album angers me and should challenge today's generation of artists. I'm pissed because Brian denied me the cohesive article for 42 years. Today's kids should be upset that this is going down as the best album of the century (to date) recorded low those many years ago. And guys...songs matter. A truly great record. "[+]Reply
"I remember 2001... I thought the music industry was spiraling downhill... dominated by boy bands, Shaggy, Limp Biskit, Linkin Park, Staind, Creed, etc... Those were dark days indeed. When the Strokes and White Stripes burst onto the scene with their huge 2001 albums, it restored my faith in the m...""I remember 2001... I thought the music industry was spiraling downhill... dominated by boy bands, Shaggy, Limp Biskit, Linkin Park, Staind, Creed, etc... Those were dark days indeed. When the Strokes and White Stripes burst onto the scene with their huge 2001 albums, it restored my faith in the music industry. This album is stripped down, but features great songcraft and playing. Awesome."[+]Reply
"Art rock done extremely well. Two notable things to this album; 1) It has very engaging atmospherics ranging from distantly dreamy to psychedelically fuzzy with it's layers of guitar coming to the fore in certain songs. 2) It is a complete album of exceptional songs without a filler or mediocre m...""Art rock done extremely well. Two notable things to this album;
1) It has very engaging atmospherics ranging from distantly dreamy to psychedelically fuzzy with it's layers of guitar coming to the fore in certain songs.
2) It is a complete album of exceptional songs without a filler or mediocre moment.
It's also lyrically elusive in a good way. Bradford Cox's vocals seem a half dimension away. I was lucky enough to see them play in support of this album in a small intimate venue and they impressed with their stage presence.
ALBUM HIGHLIGHT: The outro guitar build to Desire Lines is immense and you know it's good when you want it to continue when the finish comes."[+]Reply
"Hits you like a tornado. This is what rock sounds like when it's pushing all the barriers. Scorching guitars , snarling vocals , and very very intelligent lyrics which were a Clash trademark. They would equal this album a couple of times but never surpass it."Reply
"Natalie Mering is a bit of a nostalgic, in the finest way possible. This doesn't seem to be a blinding nostalgia that reflects the allure of contemporary music. This is a kind that serves as the heartbeat of her work, a tender nucleus that she builds around with expert craftsmanship (or craftwoma...""Natalie Mering is a bit of a nostalgic, in the finest way possible. This doesn't seem to be a blinding nostalgia that reflects the allure of contemporary music. This is a kind that serves as the heartbeat of her work, a tender nucleus that she builds around with expert craftsmanship (or craftwomanship). It's not hard to see what her strengths are. She wields a voice powerful enough to disrupt fault lines and agitate prospective avalanches. In short, she's a beautiful singer who's designed an album perfectly engineered around her vocal dexterity. Weyes Blood's fourth record is entitled Titanic Rising, which is fitting considering many of the tracks here call upon the past, through both Mering's personal experience and her music's sonic disposition. The result is a dreamy, aqueous take on different kinds of love, self-satisfaction and loss. The album art refers to Mering's creative subconscious from the comfort of her bedroom. The metaphor couldn't be more appropriate given that the young songstress' portrays her innermost sentiments flawlessly and with vivid explicitness on Titanic Rising.
The LP begins with A Lot's Gonna Change, a track that starts with a series of fragile piano key strikes. The track quickly escalates with the introduction of Mering's stirring voice. Her voice washes over every inkling of the track like a soothing breeze, starkly opposite of bracing drumbeats. The track finishes amongst lush backing vocals that play off of Mering's sympathies, "Let me change my words, show me where it hurts." The track exemplifies the term "grand opening" and provides a blueprint for ambitious soundscapes to follow. Second track Andromeda, the first single off of the album, sports a western-tinge blended with psychedelia, embodying equal parts Dolly Parton and Iron Butterfly. If you haven't listened to the track, please take a moment to imagine that sonic cocktail in your mind. Mering laments, "Treat me right, I'm still a good man's daughter, let me in if I break, and be quiet if I shatter." The song paints a portrait of unrealistic expectation and subsequent emotional investment. Sixth track, Movies, stands as the album's artistic centerpiece. It's also the most pioneering cut from Weyes Blood so far, submerged in synthesizer arpeggios that are just as delectable as they are alien. The vocals lacerate the wall of electronics with ease as she announces, "I'm bound to that summer, big box office hit, making love to a counterfeit." The poetry points to an endless wave of typicality when it comes to romance and a distinct longing for a love-affair fit for the silver screen. The track ends with a cello barrage capping the whimsical, serene track supported by Mering's heavenly bellows. The penultimate, Picture Me Better, is a likely candidate for the most straight-forward cut of the lot. The instrumentation is heavily stripped back incorporating pacifying strings that play shyly behind Mering's vocals. Her hair-raising falsettos quickly supplant the strings and aid the notion that she could create transfixing serenades if rendered acapella. The song itself is a poignant memorial to a friend lost to suicide's destruction. "If I could have seen you just once more, tell you how much you are adored, there's no point anymore," she details. The track winds down into a final instrumental entitled Nearer to Thee, a reference to the final song played during the demise of the unsinkable ship.
Titanic Rising's artistic vision is crystalline and unalloyed. The thematic framework is a thunderous damnation of monotony and all things ordinary relating to modern life and romance. It's a testament to the artist's admiration of true love in its purest form. Furthermore, the album is a musical mission statement pleading the listener to refuse social conventionality. As emotional as the record is, it's also a vehemently liberating experience. Much of its power is drawn from the sun-dwarfing brightness of its vocal standard-bearer. These tracks are crafted around Natalie's Mering's voice as opposed to common music-making methodology. After all, a traditional approach would just be too run-of-the-mill for Weyes Blood. We can thank her ambition, emotional insight and angelic vocal register for her ever-growing collection of winsome work.
"Lost and tangled up in you,
Everyone knows you just did what you had to,
Burning much more than ever before,
Burning down the door,
It's a wild time to be alive."
-Wild Time
Standout Tracks:
1. A Lot's Gonna Change
2. Andromeda
3. Picture Me Better
94.4"[+]Reply
"Nebraska is better than Born to Run, he's so very honest and down-to-earth on this masterpiece. the themes are nihilistic, dark, and consistent. it opens with a song about a ruthless, disaffected murderer from first person perspective. it continues with powerful lyrics on atlantic city: "I got de...""Nebraska is better than Born to Run, he's so very honest and down-to-earth on this masterpiece. the themes are nihilistic, dark, and consistent. it opens with a song about a ruthless, disaffected murderer from first person perspective. it continues with powerful lyrics on atlantic city: "I got debts no honest man could pay," "so I got 2 tickets on that coast city bus," "down here it's just winners and losers and don't get caught on the wrong side of that line, well I'm tired of comin' out on the losin' end, so honey last night I met this guy and I'm gonna do a little favor for him, well I guess everything dies baby that's a fact...."
every track after is told from the perspective of someone who's done or is doing something wrong for some reason or another. he tells it matter of factly, as though they're just unlucky, all just playing the cards they were dealt: "the bank was holdin' my mortgage and they was takin' my house away, now I ain't sayin' that makes me an innocent man, but it was more than all this that put that gun in my hand." this, after being sentenced to life, b4 asking instead for the death penalty.... strong stuff.
another song is from the perspective of a cop who claims always to have done an honest job. his brother gets in trouble with the law though and in a high speed chase, the cop lets him get away. the cop's values, "a man turns his back on his family, he just ain't no good" clashed with his duty to do his job and he did the only thing he really could have. he puts the reasons to catch his brother on one side of the scale, the reasons to let him go on the other, and the reasons to let him go just outweighed the reasons to catch him. he doesn't get to choose how important each reason is - how much weight they have. he doesn't get to choose for those reasons to exist in the first place. the understanding of how ppl can do terrible things and not place blame or judge is the point here. most ppl are too naive, short-sighted, ignorant, and stupid to agree with this point of view though, else this album would be ranked higher. of course you need your delusions of control, your "choice." lol, pathetic.
'reason to believe' is so powerful and a perfect closer. "struck me kinda funny, yeah it's funny sir to me/ how at the end of every hard-earned day people find some reason to believe." cold as ice. no BS from the boss, he tells it like it is. life's a b*&^% and then you die.
PERFECT album cover as well.
his more commercial material gains perspective from this. for the great production, the whole band, AND lyrics that are real, check out Darkness on the Edge of Town, another masterpiece of his, if Nebraska is too downbeat, stripped back, or depressing for you."[+]Reply