Seventeen Going Under (studio album) by Sam Fender
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Condition: New
Sam Fender bestography
Seventeen Going Under is ranked as the best album by Sam Fender.
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Seventeen Going Under track list
The tracks on this album have an average rating of 76 out of 100 (all tracks have been rated).
Seventeen Going Under rankings
Latest 20 charts that this album appears in:
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Seventeen Going Under collection
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Seventeen Going Under ratings
where:
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.
Showing latest 5 ratings for this album. | Show all 44 ratings for this album.
Rating | Date updated | Member | Album ratings | Avg. album rating |
---|---|---|---|---|
12/30/2023 17:58 | cabvo | 588 | 75/100 | |
10/21/2023 16:53 | Juneof44 | 2,397 | 69/100 | |
09/27/2023 11:02 | Stevo796 | 1,102 | 73/100 | |
09/25/2023 08:33 | Tamthebam | 21,425 | 69/100 | |
09/20/2023 09:09 | mash | 1,026 | 88/100 |
Rating metrics:
Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. This figure is provided as the trimmed mean. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. The mean average rating would be 50. However, ratings of 55, 50 & 45 could also result in the same average. The second average might be more trusted because there is more consensus around a particular rating (a lower deviation).
(*In practice, some albums can have several thousand ratings)
This album has a Bayesian average rating of 72.3/100, a mean average of 72.3/100, and a trimmed mean (excluding outliers) of 72.3/100. The standard deviation for this album is 11.0.
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Seventeen Going Under comments
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Seventeen Going Under represents a wind of change for male pop stars with guitars. The dregs of the 2010s capitalisation on them are on the way out, and none could even come within eyeshot of Fender’s genuine, essential writing. Heck, few things in music can right now: the pride with which he wears his hometown of North Shields on his sleeve, and the love he puts into his depiction of Newcastle, is magnificent.
There’s a sting, however, that of the poverty, hegemonic masculinity and social issues impossible to escape from. In a country where we can’t even agree on what we disagree on, his anger feels relevant and essential, while his riffs are supremely catchy and wholesome. Like all the best protest music, there is hope laced throughout, and Fender’s indie-ready heartland rock was born to inspire it.
Fender has struck a remarkable balance on Seventeen; he doesn’t present himself as a preacher or a politician, he doesn’t allow for his experiences to be romanticised by his radio-friendly riffs, and he appeals to a need to acknowledge the times we’re living through in a way that doesn’t drag into “oh dear”-ism. The sharp-jawed man who stares back at you from the album’s artwork is fully aware that he could cash it in to become the next safe industry heartthrob, or just another white guy with a guitar and a Twitter individuality complex. And the beautiful thing is that he doesn’t.
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