Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 59,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 4 hours ago).
"So my copy of Peasant on vinyl arrived the other day, it's pretty cool – I really like Dawson and it's nice to have a slice of him in my collection. This one ain't getting in though, it's his weakest project in a while. The whole trilogy idea was always a pretty stale threadbare linking of his pr...""So my copy of Peasant on vinyl arrived the other day, it's pretty cool – I really like Dawson and it's nice to have a slice of him in my collection. This one ain't getting in though, it's his weakest project in a while. The whole trilogy idea was always a pretty stale threadbare linking of his projects, but it would be justified if The Ruby Cord – as the first two in their own respects accomplish admirably – offered a meaningful commentary about humanity's prospects and what that means for us now. Oddly, despite Dawson's characteristically shrewd and perspicacious social observations, it doesn't whatsoever. Or, if it does I have not been able to extract it with the same didactic ease with which Peasant and 2020 provide; this album loses itself in abstraction. It seems that Dawson didn't have anything trenchant to say about the 26th century after-all.
The essential quality of 2017's Peasant is that the "community" is insular, founded on xenophobia, and resistant to the encroachment of the stranger. The hypothetical bard is thus traversing through this social landscape "in search of the Holy Grail of human decency." In 2020, people share the same spaces (they are all still British; they are neighbours), but there is no more "community." Dawson talks about class stratification, manufactured consent, and the lingering shadows of empire, but it is a guttural experience of alienation that plagues the album: "I know I must be paranoid / But I feel the atmosphere / 'Round here is growing nastier / People don't care anymore."
As 500 years from now will prove – in Dawson's mind – there will never come a techno-utopia for humanity. Instead, if I am to force it into some narrative continuity with these two prior projects – as Dawson wants us to do – the slow death of community will reach a natural conclusion and those who still linger will be rendered truly and literally alone: Hermits in a dying land approaching extinction. It's an almost Fisher King-esque tale, but calling it that would only imply that there is a better album about a 26th century Fisher King dystopia where our wounded spirituality, atrophied community and racist demons manifest a literal T. S. Elliot wasteland, this time of a distant post-post-modernity.
Despite spots of intriguing musicality, nice production and an otherwise not unpleasant listening experience, this is conceptually bankrupt.
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"82/100 A solid and efficient album, in the continuity of what we already knew from Kali Uchis, but for the moment it suits perfectly the expectations, hoping that she manages to recycle her formula for the next project Key songs : I wish you Roses / Endlessly / Moonlight Other rating : - Isolatio...""82/100
A solid and efficient album, in the continuity of what we already knew from Kali Uchis, but for the moment it suits perfectly the expectations, hoping that she manages to recycle her formula for the next project
Key songs : I wish you Roses / Endlessly / Moonlight
Other rating :
- Isolation (2018) 87
- Por Vida (2015) 77
- Sin Miedo (2021) 68"[+]Reply
"Guitar virtuoso Bill Nelson and his band Be Bop Deluxe was one of the most exciting acts that emerged in Britain in the middle of the glam rock period of the early 1970s. Stylistically, the group is clearly related to both David Bowie and Cockney Rebel. In 1976 the group's absolute masterpiece, "...""Guitar virtuoso Bill Nelson and his band Be Bop Deluxe was one of the most exciting acts that emerged in Britain in the middle of the glam rock period of the early 1970s. Stylistically, the group is clearly related to both David Bowie and Cockney Rebel.
In 1976 the group's absolute masterpiece, "Modern Music" was released. This album is definitely the most melodic, with more songs tied together in shorter suites. The album contains no less than fifteen songs which are generally of shorter length than usual. Most of the music is of such high quality that the tracks can easily stand alone outside the context of the album. A lot of songs could be brought forward here. Tracks like "Orphans of Babylon," "Kiss of Light", "Gold at the End of the Rainbow," "Modern Music", "Make the Music Magic," "Forbidden Lovers" and "Down to Terminal Street" are all titles that stand out in the Be Bop Deluxe song catalogue. "[+]Reply
"(Post Hardcore meets Noise rock meets noise pop at points. Some cool electronic bits, some messy hardcore excellence as well as bits of mathy virtuosity, this album is just a really LOUD, at times thrilling, always interesting mix of genres that mostly work really well. Check it out if you like t...""(Post Hardcore meets Noise rock meets noise pop at points. Some cool electronic bits, some messy hardcore excellence as well as bits of mathy virtuosity, this album is just a really LOUD, at times thrilling, always interesting mix of genres that mostly work really well. Check it out if you like these styles or if you want to damage your ears as efficiently as possible.)
This is the 3rd (or is it 4th?) official album by this Detroit hardcore punk/post hardcore band The Armed. In prep for this anticipated release of went back and listened to some of their earlier songs and albums. They were loud, wild, mathcorey, knotty bits of post hardcore and quite good. But, based only on the singles from Ultrapop, it felt like they had drastically changed their sound. This interesting and pretty cool evolution made me even more hyped about this album.
All in all Ultrapop lived up to my hype. The main surprise was that the 3 songs I had heard on repeat before hearing the whole thing - “All Futures”, “An Iteration”, and “Average Death” - are probably 3 of the 5 most divergent songs from their post hardcore sound. Most of the other tracks, while having a ridiculously loud mix and some elements added, were essentially “classic The Armed” - meaning a majority of the songs here are gnarly and nasty and discordant walls of hardcore insanity. The strangely pop-oriented, tuneful experimentation is much less present in the songs that were not released early on streaming services. This wasn’t blatant, like, false advertising and I’m not mad, just surprised.
As for the album as a whole, it’s very good, bordering on GREAT. The production is really ridiculous. By ridiculous I mean LOUD like REALLLLY LOUD. It’s almost Sleigh Bells-level of tinnitus-inducing. And actually it works really well for the music. The music being this maximalist melding of incredibly forthright and aggressive post hardcore with noise pop and subtle electronic and pop elements nestled underneath. The walls of unhinged sound that storm out of my headphones when I hear this record are brilliant and mostly invigorating.
The musicianship is pretty solid. It’s not the most mind-bogglingly complex and the chops aren’t on another plane, but they suffice. (Note: I’m not a musician and for all I fucking know a musician may hear this and think these guys are the second coming of the Mahavishnu Orchestra or something. Just my perception as a neophyte.) But, honestly, the fact that at times the band sounds, well, like a hardcore punk band rather than a Mathcore band, is what makes a lot of the unhinged moments work more. It sounds slightly off time at points, the band isn’t always in perfect lockstep, and it makes for a more classic punk experience in amongst all these distinctly alien-to-punk-and-Hardcore elements.
The critiques I have and the reason this album isn’t quite the AOTY candidate that I thought it may be based off first listen and those excellent pre-release singles, are vague and somewhat two-fold. And, again, both critiques are somewhat vague and incredibly personal no doubt.
For one I feel that the album somehow has a mild personality crisis. When it is going ape shit with the noisy, oppressively loud hardcore it is consistently awesome. When the band is doing a weird quasi-MBV kinda thing where there is clearly some gorgeous melodies underneath thick slabs of noise and muck, it sounds absolutely awesome. EDIT: hey this is me. That MBV comparison was sticking in me craw and I think that is because it’s a bit of a stretch and they aren’t too similar stylistically. But at points there is a certain element of hiding rich and sweet melodies under lots of noise that is somewhat similar). And yet I don’t personally feel these two styles are melded or meshed into a beautiful and brilliant complete cohesive whole. The sum of the parts is somehow less than the 2 individual stylistic achievements.
The other thing is that I feel this album doesn’t quite consistently blow me away. This is much less of a clear-cut, in my mind, problem. And honestly both issues may slowly dissolve into time as I revisit this beast. But for now I feel that the initial momentum of the album which is created by a brilliant and visceral run of tracks to start, is dampened quite a bit in the middle before the album ends with a pretty brilliant run of gems again. Again, with almost any album that I love the core sound of, this critique usually abates over time and many listens.
Overall, this is indeed a creative, blistering, intense and loud (loud in ways I haven’t heard in almost any other album this year) record that, for the most part, sticks the landing on integrating some electronic, noise pop, and other disparate sounds into the post-hardcore central sound/style. Really excellent album and recommended.
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"With the 2nd album TGUK got more professional and a bit more into pop. This album still is one of the best in the (Emo) genre with many many hits on it. Just listen to the opener "Holiday". A gift from heaven!"Reply
"Not a big Styx fan, but this was and is a very good rock album. I bought it when it came out. Much better than the sappy, weak bubblegum stuff they made after The Grand Illusion, of which I was no big fan, either. Once "Babe" came out, Styx was dead to me."Reply
"As a life long music fan my all time favourite bands are some of the classics: Pixies, R.E.M, The Beatles, The Doors, Midnight Oil (I’m Aussie) and a bunch of down to earth lads from Glasgow Travis. Something about their albums and music that keeps drawing me back and back and back. Here we have ...""As a life long music fan my all time favourite bands are some of the classics: Pixies, R.E.M, The Beatles, The Doors, Midnight Oil (I’m Aussie) and a bunch of down to earth lads from Glasgow Travis. Something about their albums and music that keeps drawing me back and back and back.
Here we have one of those terrible situations whereby a well known music publication who shall remain nameless (N.M.E) unfairly slaughters an artist and album effectively killing it dead in the water by giving ‘The Boy With No Name’ a pitiful 2/10 score. Completely brutal and unwarranted. Lets list out the tracks here that are really good
- “ 3 Times And You Lose”
- “Selfish Jean”
- “Closer”
- “Battleships”
- “Eyes Wide Open”
- “My Eyes”
- “One Night”
Fan boy or not this is simply an awesome album "[+]Reply
Arthurknight | Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
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Mercury | Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
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Brad1770 | Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.
