Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 58,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 4 hours ago).
"Who would have guessed that some of MCR's best work would be found on 5 2-track singles that only made it onto vinyl? Recorded prior to the release of Danger Days, and released just months before they disbanded, this album contains tracks that sum up everything that was great about this band. Fra...""Who would have guessed that some of MCR's best work would be found on 5 2-track singles that only made it onto vinyl?
Recorded prior to the release of Danger Days, and released just months before they disbanded, this album contains tracks that sum up everything that was great about this band. Frantic to soft, heavy riffs to piano parts, this has it all :)"[+]Reply
"Razorlight's brand of old-school-meets-indie-rock is made by the hits -- "rock'n'roll lies", "vice" (great rock song), "golden touch" and "stumble and fall". The rest of the album is rollicking-good fun too, especially "rip it up", "get it and go" and "dalston". But when Razorlight sing "L.O.V.E....""Razorlight's brand of old-school-meets-indie-rock is made by the hits -- "rock'n'roll lies", "vice" (great rock song), "golden touch" and "stumble and fall". The rest of the album is rollicking-good fun too, especially "rip it up", "get it and go" and "dalston". But when Razorlight sing "L.O.V.E., i'll see ya later" in "vice", they R.A.W.K. tha howse. This is such simple, rocking fun i almost feel like docking it for it's "simple" and (old school) "rock" qualities."[+]Reply
"Thank You For Today represents, what should be, a breath of fresh air for Death Cab - two new members in the fold. And if it's anything Death Cab needs at this moment in their career is some new wind. Though the loss of Chris Walla is often seen as a detriment to the band's future, it seemed that...""Thank You For Today represents, what should be, a breath of fresh air for Death Cab - two new members in the fold. And if it's anything Death Cab needs at this moment in their career is some new wind.
Though the loss of Chris Walla is often seen as a detriment to the band's future, it seemed that the band was already on, what most would consider, a downwards trend with albums such as 'Codes and Keys' and 'Kintsugi'. Walla's departure is felt in the band's production following Kintsugi. I personally enjoyed the production of Kintsugi, I won't deny that it is overproduced at times, but I felt it fit for the more electronic sound DCFC was experimenting with. However, Thank You For Today takes Kintsugi's sanitized production and ups it to eleven. On some tracks, Gibbard's vocals are filtered through strange effects and he just seems alien at times. And while that could certainly fit, it never does. And for such an album that seems more nostalgic in lyrical content - the in-personal production on Gibbard's voice does not benefit.
'I Dreamt We Spoke' is an unusual introduction to the album. I felt that it should've been a second track - the despondent chords the resolution to something prior. But there is nothing prior - this is the introduction to the album: strange given the otherwise cohesive mood that the album creates through its 38 minute run. The track is okay; it runs out of ideas by the end of the first chorus however and you can't help but feel there should be something greater on the horizon - as if the filter on Ben's vocals should disappear but nothing quite resolves.
Thank You For Today represents a softer turn for DCFC. It is a mesh of the pop sounds of Codes and Keys and the clean production of Kintsugi. And its softer side is where it shines. Tracks like 'When We Drive', 'You Moved Away' and '60 and Punk', tracks where the guitars don't control the primary melodies, are perhaps the best on the album. 'When We Drive' has clean, spacey synthesizer chords and some nostalgic lyrics from Gibbard - it is a pretty, atmospheric pop cut. '60 and Punk' has a odd flanger piano melody with Gibbard recalling a fallen hero, a beautiful closer to the album. 'You Moved Away' has a interesting warped synth melody panning throughout, and the additional acoustic guitars that pop up later through the song are a nice touch. However, the song is hindered by a rather weak chorus.
When DCFC decides to go back to its rockier roots, they falter. 'Summer Years' sounds like a song made by fans of the band rather than the real deal: it's fine, the melodies are fine - the track is fine, but just fine. 'Summer Years' just seems to be on the tracklist for people to recall the days of old DCFC (but with less interesting guitar melodies). 'Your Hurricane' sounds like Title Track but, simply put, not as good. A 30 second teaser was released near the announcement of the album, aiding my personal theory that these tracks were included merely to appease old school DCFC fans.
Tracks such as 'Gold Rush' and 'Autumn Love' are somewhat forgettable and represent a shift into poppier territory. However, they are far from the most egregious attempts on Thank You For Today at crafting a generic pop song - that award goes to 'Near/Far'. The track in question sounds like a Mylo Xyloto era Coldplay track with its danceable guitar melody and Gibbard's faded vocal production. Yet, in spite of its energy, the track is simply boring. The poppier tracks on this album aren't terrible, they're simply too devoid of captivating melodies for pop fans and a far cry from the standard of writing that DCFC were once used to (debatably a decade ago, but still).
The track 'Northern Lights', personally, reminds me of X&Y era Coldplay. It's also boring. There really isn't much to say about a lot of tracks on the album in all honesty: pretty guitar melodies that go nowhere, and you want the track to be over at the 2:40 mark and the song goes on for another minute.
This is Death Cab's worst album. At times, it barely feels like a DCFC album. Tracks such as 'Near/Far' and 'Gold Rush' are so devoid of what made Death Cab, well, Death Cab and the good tracks are few and far between.
Maybe the album will grow on me, but right now I'd give it somewhere around a 4 to a 5. "[+]Reply
"One of the most underrated debut albums ever. How many other songwriters make such a mature and fully formed record like this first time round . There's hints of Randy Newman and Tom Waits here, but it's mostly unique to Wainwright himself. Foolish love, is a stunning opener, and it's the first o...""One of the most underrated debut albums ever. How many other songwriters make such a mature and fully formed record like this first time round . There's hints of Randy Newman and Tom Waits here, but it's mostly unique to Wainwright himself. Foolish love, is a stunning opener, and it's the first of many great songs. Matinee idol, beauty mark, baby, and, Sally Ann, are all stunning, as are, Barcelona, April fools, and, in my arms. The only weak track is probably, damned ladies, but it's still ok. A great debut from a career destined for greatness. "[+]Reply
"Super sonic sounds delivered perfectly in a noisy, industrial and aggressive outfit from the Iceland-based Australian musician Ben Frost. The sweaty club-version of Tim Hecker's Virgins from last year. Whereas Tim Hecker's album was the lucid mist before the storm, this is the roaring storm. Lovi...""Super sonic sounds delivered perfectly in a noisy, industrial and aggressive outfit from the Iceland-based Australian musician Ben Frost. The sweaty club-version of Tim Hecker's Virgins from last year. Whereas Tim Hecker's album was the lucid mist before the storm, this is the roaring storm. Loving this."[+]Reply