Top 100 Greatest Music Albums by AvalancheGrips (2021)
I basically wrote an entire essay over the span of each Swans trilogy entry. Sorry not sorry, I love it too much.
OutKast- Aquemini (1998)
Miles Davis- Bitches Brew (1970)
Queens Of The Stone Age- Songs For The Deaf (2002)
Sufjan Stevens- Carrie & Lowell (2015)
Ween- Quebec (2003)
Noname- Room 25 (2018)
Run the Jewels- Run the Jewels 3 (2016)
Swans- White Light From The Mouth Of Infinity (1991)
The War On Drugs- Lost In The Dream (2014)
Mogwai- Young Team (1997)
Panda Bear- Person Pitch (2007)
Joanna Newsom- Ys (2006)
Death Grips- The Money Store (2012)
Death Grips- Bottomless Pit (2016)
Viðrar vel til loftárása- Sigur Ros
Siberian Breaks- MGMT
Teen Age Riot- Sonic Youth
The Dead Flag Blues- Godspeed You! Black Emperor
Finally, Peace- Swans
There, There- Radiohead
How To Disappear Completely- Radiohead
It's Coming It's Real- Swans
Storm- Godspeed You! Black Emperor
Little Dark Age- MGMT
Burn The Witch- Radiohead
Losing My Religion- R.E.M.
Sinnerman- Nina Simone
On GP- Death Grips
Born Under Punches- Talking Heads
Western- black midi
A Piece Of The Sky- Swans
Live At Dominoes- The Avalanches
Helpless Child- Swans
The Rainbow- Talk Talk
The Rip- Portishead
Bring the Sun/Toussaint L'Ouverture- Swans
Wesley's Theory- Kendrick Lamar
These Walls- Kendrick Lamar
King Kunta- Kendrick Lamar
Jenny Ondioline- Stereolab
Southern Point- Grizzly Bear
Mladic- Godspeed You! Black Emperor
- Chart updated: 37 hours ago
- (Created: 01/13/2018 01:55).
- Chart size: 100 albums.
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Musical Content: As stated above, the production, the Thundercat basslines, and the featured artists are all amazing; it mixes perfectly. Can't forget Kendrick's flow and sound, though. Kendrick has one of the most unique voices in hip-hop and it shows greatly on this album. This is one of the most sonically pleasing hip-hop albums ever. It is also super jazzy while still being accessible. There are tons of genres and influences on this album, maybe even Radiohead on "How Much A Dollar Cost". Overall, musically this is one of the most diverse and creative albums in hip-hop.
Poetic Content: I can't even begin to dissect the poetry and meaning of this album. I feel it would take months to get every line, verse, reference, or meaning. And as a mostly white person, I can't understand what it is like to be a black man in Compton. I cannot and will not be able to understand what it is like to be harassed by the police everyday or be seen only by my skin color or have a harder time getting a job or so many other struggles that black people face. The entire history of this country is one of destruction of black lives, families, and communities. What I do know is that this album has and/or will have an outstanding historical significance. Kendrick is clearly making a statement on everything from the music industry to race politics. And to top it off, throughout the whole LP, he reads a poem which ties together all 16 songs on the album.
Kendrick basically has attained God status at this point and it is all thanks to the one-two punch of "good kid, m.A.A.d city" and this album. I still can't believe that he was able to pull off creating a perfect album with this many songs on it.
Favorite Songs: All Of Them [First added to this chart: 01/12/2018]
Some words on the trilogy:
I have listened to each album of the trilogy separately many, many times. But one time, and hopefully again, I listened to them consecutively. Yeah all six hours. What I can say is that these albums were definitely meant to be listened consecutively. Each final track to each album flows seamlessly into the intro of the next. The thematic cohesion is on point. The brutality of "Apostate" flows right into the quiet, but building "Screen Shot" and its brutality is similar to that of the aggressive nature of To Be Kind as a whole. The sheer noise of the track "To Be Kind" flows into the somber and methodical "Cloud of Forgetting". And the trilogy ends perfectly with the triumphant and beautiful "Finally, Peace". This song is *Italian chef kiss*. There is a real sense of progression over the span of this trilogy. It goes from insanity and lunacy in the song "Lunacy" to transcendence and harmony in the song "Finally, Peace". Even the album covers show this. The Seer's album cover is an animal, this represents our animalistic origins. Then To Be Kind has a human baby, a primitive yet somewhat advanced being ready to develop further. Finally, The Glowing Man, an abstract shape representing the transcendence beyond physical existence. However, this shape looks like a human hand meaning it is humanity that has ascended. This is just my interpretation, definitely come up with your own if you disagree.
I'd also like to talk about what I call the Behemoths. These are songs 15 or more minutes in length. There are 8 of them in this 29 track trilogy. These are often the strongest and most groundbreaking tracks on each album. It takes a tremendous amount of skill and forethought to create such flawless tracks at such length. Only it seems that Gira and crew did not put so much forethought. It appears that many were entirely improvised and evolved over the span of their tours and studio performances. This probably takes even more skill to achieve. These men truly are music gods, or real ones, who can tell?
The Seer: What a terrifying album. Upon my first listen, I was afraid to look out my dark windows, in fear of seeing some primordial man peering in and plotting to eat me. I rarely dream, but my dreams after this album would probably be intense nightmares if I did. Unlike many other albums, I didn't really preview any songs on this one, and I did the same with Soundtracks. I was taken aback by some of the moments of pure horror and pure beauty. I'm afraid to spoil some of the moments for new listeners. These points on the album are what made it so insanely amazing to me. But if you have listened to it, keep reading. For people who haven't, please do before I spoil it. The last 4 minutes of "The Seer" scared the shit out me. Not because they were particularly scary but because they came out of nowhere. It went from a solid droney track to a groovy, psychotic uproar. I mean these words in the best way possible. "Song for a Warrior" took me completely by surprise in how beautiful it is. This is probably the first time I almost cried on my first listening of a song. Then, what I consider the greatest moment on The Seer, "A Piece of the Sky". There are so many moments of pure beauty and bliss on this track. When the jangly zithers and dulcimers? come in after the dark drone, I feel a sense ascension. Then the groovy rock instrumental comes in and lifts me up even more, and then the final 5 minutes. Oh my God, the final 5 minutes of this track are orgasmic, I hate that word but it's true. Gira really shows himself as a lyrical genius here. Then, all of this ascension is brought down and obliterated by "Apostate". This song represents the most depraved and disgusting aspects of humanity. Of course, this song is amazing too. I believe each album in the trilogy represents a part of humanity's evolution. This album is the primordial period of desolation and brutality. It's not the same brutality as To Be Kind though. This is the world and the universe inflicting violence on humanity. This is insanity.
Favorite Songs: Lunacy, Mother of the World, The Seer, The Seer Returns, Song for a Warrior, Avatar, A Piece of the Sky, Apostate [First added to this chart: 02/10/2019]
Most of the songs start with a simple beat, just drums and bass most times. Slowly and gradually these songs devolve into savage and inhuman beat downs. "Screen Shot" starts with a very methodical and minimal riff then becomes more intense with a piano riff and eerie sounds in the background. The last minute and a half grow even more intense with some harsh and grating synths and probably lapsteel guitar. "A Little God In My Hands" also starts with a minimal groove with the final moments being filled with insane synths and horns. The second section of "She Loves Us" starts with Michael Gira chanting "Hallelujah" and then degrades into him screaming horrible obscenities. "Oxygen" is probably the greatest example of this. It starts yet again with a minimal beat. Then, after a brief pause, the music comes back with very intense horns that remind me of elephant war cries. Michael Giras just becomes an animal on the second half of this track. These tracks really show the unwinding depravity of humanity in this point of existence.
"Bring The Sun/Toussaint L'Ouverture" is quite possibly Swans's greatest achievement. The first minute is already the most intense moment so far on the album. The climax of "Bring The Sun" is probably my favorite eight minutes of music. Then there is the phase of horse noises, saws, bells, and whistles with a wall of noise added in the mixture. Then "Toussaint L'Ouverture" comes in. This song is like an extension of The End by the Doors. The bass groove mixed with the dynamic drum beat is what makes it so good for me. This track really is the pinnacle of all music for me.
The grooves on this album and the pounding atmosphere are really Swans at their peak, amazing that they peaked 30 years after starting by the way, shows how amazing their career has been. The songs are harsh but catchy in some way. There are beautiful moments like "Nathalie Neal" and I'd even say the climax of "Bring the Sun". The production is top notch as always. It's another perfect album by Swans.
Favorite Songs: Screen Shot, Just a Little Boy, A Little God In My Hands, Bring the Sun/Toussaint L'Ouverture, She Loves Us, Kirsten Supine, Oxygen, Nathalie Neal, To Be Kind [First added to this chart: 02/10/2019]
It took me a while to like this album. I didn't see it as an equal to the others in the trilogy. Somehow, I came around to it. I'd say the density of outstanding tracks on this album is greater, maybe because it has less songs but is the same length. Swans really perfected the mix of droney parts with groovy and punchy parts. Two examples of this are "Frankie M" and "The Glowing Man". These two songs are perfect and I mean that. "Frankie M" is so iconic, I don't know what it is about it. "The Glowing Man" has the best groove on any Swans album, right in the middle of the track. The final song on this album is also one of the greatest moments in Swans's discography. "Finally, Peace" is such a gorgeous and uplifting song and the perfect way to end the trilogy. I still feel that this is the weakest album in the trilogy, but it's so damn near perfect that I don't hold that much against it.
This trilogy has changed the way I will look at music forever. It is probably the greatest achievement in music history, better than the Beatles, by far. Come back in thirty years and Swans will be the most influential band in history, I'm telling you. These guys deserve so much more credit than they get. I hope in the future, more people will see their genius. Wow, I wrote way too much.
Favorite Songs: Cloud of Forgetting; Cloud of Unknowing; The World Looks Red / The World Looks Black; Frankie M; When Will I Return; The Glowing Man; Finally, Peace [First added to this chart: 02/22/2020]
Favorite Tracks: All Of Them, however here are some standouts
"I Was A Prisoner In Your Skull", "Helpless Child", "Volcano", "All Lined Up", "Animus", "The Sound", "Empathy" [First added to this chart: 01/13/2019]
The opening section of "Storm" fills the listener with extreme triumph, a feeling that Godspeed You! can make you feel like no other band. When this feeling dies down, there comes a musical climax fit for history books. Few songs give me a grander smile than when the drums and wailing guitars come in on this climax. It is probably the highlight of the album and it is just 10 minutes in. After this climax, the instruments make you feel as if you are being chased and then, "Welcome to Arco AM/PM mini-market!". The following piano section gives you a feeling of loss and emptiness. These are some of the best sounding pianos I think I have ever heard.
Then, more goddamn trains, just like F#A#∞, and more drones, just like F#A#∞. Godspeed You! have pretty much perfected the art of drone between this album and the before mentioned one. They are full of depth and aren't just random, drawn-out noises. In comes a dreary sounding sermon about meeting God. The strings in the background are full with sorrow and anguish even. And the track gets ready for another amazing climax. When this climax hits, the first thing I always notice is the tremendous bassline, it's full of attitude and life. The track speeds up exponentially before giving way to probably the most boring and unneeded section of the whole record. It just sounds like metal objects being rung and tantalized. I'm not a fan of this segment, I don't think it really adds to the track or the tone of the album, it's pretty emotionally vacuous. However, this track is still very good, if probably my least favorite on the album.
"Sleep" hits you first with a wave of nostalgia as an old man speaks on his childhood. The physical remnants of the best moments of childhood are almost no more. He is left only with the memories of these moments. Then, a longing chord comes in and builds up. I want to mention again how good the bass sounds on this album. It sounds very organic and lively in many parts, including this section before the action starts. The quiet drums and the longing guitars complement perfectly the aforementioned bass that only comes in at specific moments. The track then builds up again and this time, the drums come in full force and the guitars are louder. The tension builds until it gives into wailing guitars and fast paced drums. The wailing guitars die off and more grounded guitars come back in. The watery guitar line builds again and another climax with yet another great bassline. This climax dies off yet again and a new and very satisfying drumline comes in. This is one of my favorite moments on the record, the drums are so surprisingly groovy, contrasted with the very emotional guitars and strings. The tracks has another climax, that's like the sixth one now. The track dies and with more amazing drums and guitar distortion. This is the most emotionally gripping track on the record, even though most of it is purely instrumental.
The final song starts with a very heartwarming bluegrass song. It is pretty funny to me that this is the most catchy section of Godspeed You!'s discography. Then, more drones and some amazing glockenspiel. They sound so ethereal. Some weirdo kids start singing in French, this is another heartwarming and nostalgic part of the record. The somber strings that follow give way to another climax, the shortest one on the album. It has yet another amazing bassline and more wailing guitars. The strings return until what is my favorite moment on the album. This is some of the most comforting music that has ever fell unto my ears. The drums are so crisp and, again, the bass is so organic and twangy, it sounds so good! I can hardly take it. The guitars again have a deep sense of longing. I really wish this section were longer. The drones that follow are not the most interesting in their catalogue. I really think this album could have ended in a more satisfying way, maybe another instrumental section. Nonetheless, the album is still godly.
This is definitely the pinnacle of Godspeed You! Black Emperor's discography. Their music has never been so emotionally exhilarating as on this album. The compositional work is phenomenal, each climax and valley seems perfectly placed and spaced. This is the epitome of post-rock right here. [First added to this chart: 07/12/2019]
"East Hastings" starts with a bagpipe interpolation of the opening guitar and string sequence of the "The Dead Flag Blues" and a woman yelling about California and the greatness of America. This somehow contributes to the overarching sense of endtimes and dread, like a street corner preacher screaming about the end of the world while a bagpipe provides the soundtrack, much like how the band still played while the Titanic sank. In comes the weak and simple guitar which builds into a section that kind of has an attitude about it when the drums and bass come in. This builds into a hectic and noisy end whereupon comes radio transmissions and sinister drones. There comes harsh mosquito sounds that decay into mechanical factory noises to end the track. This is my least favorite track on the record but it is still fucking amazing.
"Providence" comes in with an interview with a man called Bailey Blaise Finnegan III. He says it is not the end of times, in his other appearances he preaches about the shithole that is America and how it is failing miserably. In comes a watery and rhythmic guitar line that builds and builds with instrumentation, like horns and xylophones. This section is very much sound and texture based more than tuneful. Then comes the toms that compel this track into something more concrete. I love the sound of these drums, there's something primitive about them. It then becomes a very reverberated and delayed rendition of a funeral song. This section is almost like some ghost is trying to repent but their words just wisp away into the atmosphere. Then a triumphant marching beat forces its way through. When this ends a somber and withdrawn voice asks, "Where are you going?" before fading away into more drones. The record cuts silent for a couple minutes until a hidden guitar solo section comes in. This section is roaring and disorienting. This is some of the heaviest music that Godspeed You! has created. It ends with heavy, roaring, and distorted guitars and then fades away, ending the album, ending the journey.
This album is probably one of the most harrowing experiences in music. The drones paint a world of barren desolation and the musical sections seem to represent characters that live within that world: the poet drunk on the world, the heroic cowboy, the child who is sung a lullaby, a screaming preacher on the streets, a man with a quick temper and bad attitude, a prophetic and hopeless man, an upbeat and joyful teenager, a mourning mother singing at her son's funeral, a soldier who used to march many miles, a lost child, a violent and sullen man. These characters wander the wastes described by the poet in the opening, hopeless and lost. That is my interpretation at least. [First added to this chart: 11/23/2020]
The vocal effects on "Everything In Its Right Place" are probably my favorite element of the song. The reversed and manipulated voices fit perfectly with the heavy, but soft, synths. This is a very simple song, instruments wise: a synth, a drum machine probably, and voice manipulator; but I can tell that a lot of work went into crafting this song and it is a perfect opener because it is weird as hell.
"Kid A" is a very satisfying song for me. The synths are just so soft, they feel like they can put you to sleep. There is definitely a lullaby quality to this song. This feeling is added to with the vocals. They are also just and somehow comforting, even if they sound a bit unnerving. This is an unpopular song but I quite like it.
"The National Anthem" pretty much cemented my love for this album. The heavy, fuzzy bass and the Krautrock beat are killer, the jazz freakout is so fucking badass. There really isn't much more to say, this song is killer.
It took me three tries to listen to this album fully because of "How To Disappear Completely". At the time, I was easily bored by acoustic guitar ballads. Even when I listened all the way through the first time, I was unimpressed. It was probably my least favorite song on the record for a while. Now, it is easily my favorite Radiohead song. Walking into my first day of senior year with this song playing in my earbuds really hit, and I liked high school. The chords and the bass create the most heavy feeling of melancholy and Thom's vocals are just so good. There's so much going on in this track that it's really hard to pin down all the right words to describe it. I think that is a great quality for a track to have.
"Treefingers" is good.
"Optimistic" may seem like a really boring, run-of-the-mill Radiohead track, but I really enjoy it. The return to guitars is kinda refreshing on this album and the chord progression is really good. I love the climaxes on this song and the jazzy outro is really satisfying for me.
"In Limbo" is probably my least favorite track, but it's still pretty good. I'd say it's more atmospheric than melody driven. Kinda boring and repetitive, but a good palette cleanser for what's to come.
"Idioteque" is a very jarring song. I think that is why it is so good. It has a very sparse instrumentation and emotional vocals. Of the highest rated tracks on this album it is probably my least favorite, however it's still pretty perfect to me and a staple of Radiohead's discography.
I love the way "Idioteque" phases into "Morning Bell". I think it is one of the best moments on the album. The actual track "Morning Bell" is pretty good, but not too special. I really like the buildup towards the end and the weird high-pitched sounds. Pretty solid.
"Motion Picture Soundtrack" is the song that has taken the longest to grow on me. It still has some growing to do, but I really enjoy it. It is a gorgeous way to send off the album. I like that they went for a more classical approach without rock guitars or synths.
In summary, this album fucking rocks. And it's better than OK Computer. [First added to this chart: 03/30/2018]
Favorite Songs: Pretty Much All Of Them [First added to this chart: 01/12/2018]
Cavalcade starts with "John L", which is the most insane and unhinged piece of music I have ever heard. The instrumentation is hectic and disjointed and vocals are monotone and calm. This makes sense when you read into the lyrics. They are about the leader of a cult named John L (50), likely an allusion to the John Frum cargo cult. Cult leaders are often charismatic and well-spoken. They can calmly tell groups the most batshit insane things and many will follow them. This is why the calm demeanor of Geordie's vocals backed by hectic, grandiose instrumentation makes complete sense.
"Marlene Dietrich" is a complete departure from the sound of "John L" and from black midi's usual style altogether. It is a beautiful ballad about one of the most influential actresses of the 20th century, Marlene Dietrich. The boss nova style guitars really took me by surprise and the other instruments came in and plastered a smile on my face. Geordie's vocals are very melodic, a shocking development considering his past performances.
"Chondromalacia Patella" is the perfect combination of the insane instrumentation of "John L" and the gentle crooning of "Marlene Dietrich". The middle jazzy section is another very pleasant moment on the record, with Geordie singing calmly. Then, the tension builds before releasing this amazing, high-pitched climax that ends the song. And the final descending note makes me laugh every time.
"Slow" is one of black midi's most well-written songs. The soft-loud dynamics are just perfect on the song. There's a real sense of urgency, which makes sense given the lyrical themes, that of wanting to die quickly instead of degrading over time. Cameron's vocals also show improvement over those of Schlagenheim.
"Diamond Stuff" is one of the most cerebral songs on the album. It starts out really slow, almost excruciatingly slow. The beginning reminds me of a Tool song from the album Fear Inoculum with its drawn back vocals and oriental sounding instruments, I don't know a better word for it. Then, the second half kicks in with a massive snare hit that echoes loud. And the following two minutes are serene and utterly blissful. The backing vocals are angelic and the guitar and drums sound like something from In Rainbows or A Moon Shaped Pool. "Diamond Stuff" is probably in my top three favorite songs from this album.
The KEXP performance of "Dethroned" had me very hyped for the studio version. However, I was somewhat disappointed with the mix and the sound of the song upon first listening to it. There is no horn section, which is what makes the KEXP version so fucking good. Since then, I have come around on the studio version, mostly because of the final section, which is much more transcendental than the live version. All-in-all, "Dethroned" is a very solid song, with or without horns. And I'm glad both versions exist.
"Hogwash and Balderdash" is my least favorite song on the album, which isn't saying much considering it's still a banger. It's another insane, jazzy song with a more straightforward rock approach. It's fast paced and all over the place. There isn't much more to say.
"Ascending Forth" is an epic prog piece that reminds me of acts such as Genesis and King Crimson. Geordie wanders through the song with more melodic and somber vocals. The song has many crescendos and falls accompanied by a soft acoustic guitar riff that carries on through the whole song. The song has many instruments never before used by black midi. The songs ends with a grand crescendo of horns and strings. This is one of the greatest finales to an album I have listened to.
Black midi shows a true maturation in their sound. With real vocals and genuinely beautiful moments juxtaposed with insane moments, black midi has really honed in on their style, just 4 years into their careers. I hope they keep going in different directions, I have a lot of faith in them. Solid 10/10 for this album. [First added to this chart: 06/01/2021]
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Top 100 Greatest Music Albums composition
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Remain In Light
by Talking Heads
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This chart is rated in the top 2% of all charts on BestEverAlbums.com. This chart has a Bayesian average rating of 91.1/100, a mean average of 91.7/100, and a trimmed mean (excluding outliers) of 92.2/100. The standard deviation for this chart is 7.9.
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Pretty good taste
i agree that 4 swans albums on the top 10 is a little too much
Heck yeah, Swans! Good list with some heavy love for the last decade. Appreciate the honorable mentions as well. If you haven't already, check out White Light From The Mouth of Infinity by Swans.
Great work you have most album out of the top 1000 and you like the swans but i can agree with you and gave you 90 points very good work.
Always a positive chart when some love for Swans is shown!
Fascinating chart. Some very bold “early” picks like Black Midi and IGOR (love it as I picked that one, too). Gonna come back here for sure.
Good job on the comments, they are very insteresting!
I like your chart, however I find it odd that half your picks are in the top-100 of this website and that you have only 4 albums that aren't in the top-1000. Don't be afraid to go for more obscure choices!
New comment since it's chart of the day again: any issues that I had with this chart are gone completely. A lovely perspective on some brilliant albums. What's not to love?
Our taste in music is eerily similar
All i had to do was see no. 1
This is it chief
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