part 2 of You must listen to the album below you:canon edition by 
Mercury 
- Chart updated: 03/15/2022 17:15
- (Created: 08/26/2021 19:56).
- Chart size: 100 albums.
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I had started a write up as I started listening a second time to this album. But as the album progressed I started feeling my thoughts and emotions change. Then change smore. So I scrapped it (wasn't really anything good .... the usual mercury hot air) and now I come back again. I really am glad this was chosen next. This is pretty incredible stuff. Of the 10 choices though this was the pone I was LEAST excited about when it was picked. That for some reason almost always happens... y'all have a way of picking the one that I am most hum drum about and saying "THIS is the one you should hear." and that is cool because the game is designed to kinda nudge me to stop procrastinating on essential or great albums that I have been putting off. Anyway... back to the album.
It's a meal, this album. The vibe is not exactly one-note, but it is pretty fucking glum and somber and suicidal and downcast. Still, each song is unique from the others and easily distinguishable and, although I didn't go out of my way to study the lyrics, the lyrics I heard gorgeously conveyed and poetically rendered a lot of the same atmosphere as the textures and tones and sounds of the album.
The opener is a strange feverish impressionistic and despairing beast of a track. This leads into a gorgeous bit of harmonizing and melodically rich sadness with track 2 "Blackest Bile", which leads brilliantly into another beautiful folk naval gazer " Grave Filled With Books". Then the weirdest and most brutally cold and chilling track unlike any other (again, they each are unique and there isn't a returning to the same formula twice, but this is particularly and distinctly different) "Empty Churches" - man, that found sound/sample of that man telling the story of truly creepy phenomena is breathtaking. Finally, this masterclass is followed up by probably my least fave track here "I'm Going To Do IT" which is still fine and very very subdued and it ends with a nice pay off. This Leads into the beautiful dark folk of "Spectral Bride". Then the album gives us maybe the other best song (alongside "Empty Churches" and the opening 2 tracks) "No One is Ever Going to Want Me"... holy shit this is a brilliantly executed everything. The build up is so slow and gorgeous and moody and hit the spot and the big ending is so riven with sadness and sickly self-loathing, it breaks your heart. The final 2 songs are also quite beautiful and atmospheric and don't let the mood of the album stray.
Overall the way Giles Corey manages to express these very very hard to encapsulate internal emotions is excellent. The best folk music especially in modern times, the folk that incorporates studio effects and darker elements of slowcore, lo-fi stuff, dark folk, sometimes drone, or other avant-garde elements, is set apart as great because the artist somehow manages to capture internal wrangling and hardship and contradiction and the slightest nuances of human misery and emotion. This is almost as good as any I've heard... perhaps I'd put this in that same level as the best Microphones or Grouper and maybe a bit behind my personal fave in the more old school version of this, Mickey Newbury. When I push play on this album (which I just did for the 4th time) I am wading into very very foreboding waters into the mind of the musician who crafted this world and that is a great feeling. The way this album incorporates Dark and Avant folk, slowcore, more traditional harmony-heavy folk, very personal and sad lyricism and whatever tool is needed and at his disposal to create the appropriate atmosphere is stunning.
I enjoy and even love this way way more than anything I've heard from Have A Nice Life (the very famous and loved band that Giles Corey is a part of). It is simply more my tempo and style and it also helps that this is half the length or a little more than half the length of Deathconsciousness. Still, after falling in love or at least strong liking with this album, I for sure will be going back to Deathconsciousness (for the 10th time It feels like) with fresh and more initiated ears. [First added to this chart: 01/04/2022]
It's a meal, this album. The vibe is not exactly one-note, but it is pretty fucking glum and somber and suicidal and downcast. Still, each song is unique from the others and easily distinguishable and, although I didn't go out of my way to study the lyrics, the lyrics I heard gorgeously conveyed and poetically rendered a lot of the same atmosphere as the textures and tones and sounds of the album.
The opener is a strange feverish impressionistic and despairing beast of a track. This leads into a gorgeous bit of harmonizing and melodically rich sadness with track 2 "Blackest Bile", which leads brilliantly into another beautiful folk naval gazer " Grave Filled With Books". Then the weirdest and most brutally cold and chilling track unlike any other (again, they each are unique and there isn't a returning to the same formula twice, but this is particularly and distinctly different) "Empty Churches" - man, that found sound/sample of that man telling the story of truly creepy phenomena is breathtaking. Finally, this masterclass is followed up by probably my least fave track here "I'm Going To Do IT" which is still fine and very very subdued and it ends with a nice pay off. This Leads into the beautiful dark folk of "Spectral Bride". Then the album gives us maybe the other best song (alongside "Empty Churches" and the opening 2 tracks) "No One is Ever Going to Want Me"... holy shit this is a brilliantly executed everything. The build up is so slow and gorgeous and moody and hit the spot and the big ending is so riven with sadness and sickly self-loathing, it breaks your heart. The final 2 songs are also quite beautiful and atmospheric and don't let the mood of the album stray.
Overall the way Giles Corey manages to express these very very hard to encapsulate internal emotions is excellent. The best folk music especially in modern times, the folk that incorporates studio effects and darker elements of slowcore, lo-fi stuff, dark folk, sometimes drone, or other avant-garde elements, is set apart as great because the artist somehow manages to capture internal wrangling and hardship and contradiction and the slightest nuances of human misery and emotion. This is almost as good as any I've heard... perhaps I'd put this in that same level as the best Microphones or Grouper and maybe a bit behind my personal fave in the more old school version of this, Mickey Newbury. When I push play on this album (which I just did for the 4th time) I am wading into very very foreboding waters into the mind of the musician who crafted this world and that is a great feeling. The way this album incorporates Dark and Avant folk, slowcore, more traditional harmony-heavy folk, very personal and sad lyricism and whatever tool is needed and at his disposal to create the appropriate atmosphere is stunning.
I enjoy and even love this way way more than anything I've heard from Have A Nice Life (the very famous and loved band that Giles Corey is a part of). It is simply more my tempo and style and it also helps that this is half the length or a little more than half the length of Deathconsciousness. Still, after falling in love or at least strong liking with this album, I for sure will be going back to Deathconsciousness (for the 10th time It feels like) with fresh and more initiated ears. [First added to this chart: 01/04/2022]
Year of Release:
2011
Appears in:
Rank Score:
719
Rank in 2011:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
7
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I don't have quite as much to say about this one as some earlier or more recent write ups. This albums rocks hard and there are some really interesting things going on here. The band kicks ass and on some songs (starting with "Collagen Rock", with its cartoonishly bouncy sharp melodic guitar lick) have some really prominently, strangely biting and high pitched guitar riffs that dominate the songs which are otherwise crunchy and intense post hardcore things. I thought that was awesome.
The vocal took some getting used to and really the first song turned me off and I thought the whole vibe of the band was not my thing especially vocally. But that song on 3rd listened grew a little on me and, more importantly, the rest of the album I feel gets better going forward. Some really stand out tracks that just got me riled up in a youthful, punk rock way, were the aforementioned "Collagen Rock", "What We've Learned", "Day of the Dead Ringers", "No New Wave No Fun", "To Hell With Good Intentions", and the closing track "whoyouknow." Also came to like the slowed downness and moodiness of ""Fuck This Band" and one other I am forgetting.
Overall, this sound is my jam. Really dig the innate hardcore energy mixed with other hard rock and punk and more arty side routes and sonic details. Very glad I FINALLY got to this. Can understand the hype. [First added to this chart: 01/05/2022]
The vocal took some getting used to and really the first song turned me off and I thought the whole vibe of the band was not my thing especially vocally. But that song on 3rd listened grew a little on me and, more importantly, the rest of the album I feel gets better going forward. Some really stand out tracks that just got me riled up in a youthful, punk rock way, were the aforementioned "Collagen Rock", "What We've Learned", "Day of the Dead Ringers", "No New Wave No Fun", "To Hell With Good Intentions", and the closing track "whoyouknow." Also came to like the slowed downness and moodiness of ""Fuck This Band" and one other I am forgetting.
Overall, this sound is my jam. Really dig the innate hardcore energy mixed with other hard rock and punk and more arty side routes and sonic details. Very glad I FINALLY got to this. Can understand the hype. [First added to this chart: 01/05/2022]
Year of Release:
2002
Appears in:
Rank Score:
562
Rank in 2002:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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Okay, yes I know i'm cheating and taking up way wayyyy too much space... but I will not say so much about these 3 that it hurts trying to scroll past this lol.
Basically I already wrote something up about Pete Rock and CL's debut EP. I wasn't feeling it. So i gave it some time and distance and, before pushing play on their first 2 iconic albums, i listened again. I will say I liked it a lot more. The flows and the atmosphere is still a bit too old school and sunny and patched together for my personal top taste, but man this is a very cool intro statement from this duo. 29 minutes of impressively dense stitched together beats and some cool bars mixed with some that idk, didn't do much for me.
NEXT, I re-listened to Mecca and The Soul Brother... and I can't put my finger on why, maybe it was a later remaster or maybe it's because they had more money behind them, but this sounded so soooo much more crisp and engaging than their already quite cool debut EP. The album sound-wise took what was cool and, I imagine but i'm no expert on hip hop history, groundbreaking sound of the EP and took it up a couple notches. The Bars and the flows are slightly better and at times actually quite incredible. The whole thing, despite being over 70 minutes, kind of flew by. While I still wouldn't say this is a style or aesthetic that engages me as much as other styles and sub-genres of hip hop, I was consistently engaged by the seamlessly put together, sample heavy and lush beats and tracks and those deep deeeeep basslines and everything production-wise. Smooth was better here as well, somewhat modernized within just a year.
FINALLY, the Main Ingredient is one that I had a feeling I was building toward. I recently gave it half a listen and remember thinking "This may be 90s chart worthy" but didn't add it. Finally coming to this after hearing their 91 and 92 releases it made it much more sharply clear that this is the most modern and lush and beautiful and cool and smooth of the 3 and easily my fave. The bars are even more engaging and badass here. The beats, from what I understand, are paired down in terms of samples and that aesthetic of taking other samples and stitching together a beat due to it being 1994 and more and more lawsuits started to be filed. The age of the sample-heavy album was ending in mainstream or more popular hip hop, and the beats generally and certainly here started being electronic and more self-produced or even self-performed from what I understand. That all makes for Pete Rock completely reinventing himself and doing better than ever creating these sonorous, tangible, thumping bassline-lead grooves with more natural sounding drums and some just awesome sounds and textures. Yeah this is solid and I may be adding this to my 1990s chart soon-ish. It's borderline.
Grades-wise, I give All Souled Out a 7.3/10
I give Mecca and The Soul Brother a 7.9/10
and I give The Main Ingredient a 8.3/10 [First added to this chart: 01/05/2022]
Basically I already wrote something up about Pete Rock and CL's debut EP. I wasn't feeling it. So i gave it some time and distance and, before pushing play on their first 2 iconic albums, i listened again. I will say I liked it a lot more. The flows and the atmosphere is still a bit too old school and sunny and patched together for my personal top taste, but man this is a very cool intro statement from this duo. 29 minutes of impressively dense stitched together beats and some cool bars mixed with some that idk, didn't do much for me.
NEXT, I re-listened to Mecca and The Soul Brother... and I can't put my finger on why, maybe it was a later remaster or maybe it's because they had more money behind them, but this sounded so soooo much more crisp and engaging than their already quite cool debut EP. The album sound-wise took what was cool and, I imagine but i'm no expert on hip hop history, groundbreaking sound of the EP and took it up a couple notches. The Bars and the flows are slightly better and at times actually quite incredible. The whole thing, despite being over 70 minutes, kind of flew by. While I still wouldn't say this is a style or aesthetic that engages me as much as other styles and sub-genres of hip hop, I was consistently engaged by the seamlessly put together, sample heavy and lush beats and tracks and those deep deeeeep basslines and everything production-wise. Smooth was better here as well, somewhat modernized within just a year.
FINALLY, the Main Ingredient is one that I had a feeling I was building toward. I recently gave it half a listen and remember thinking "This may be 90s chart worthy" but didn't add it. Finally coming to this after hearing their 91 and 92 releases it made it much more sharply clear that this is the most modern and lush and beautiful and cool and smooth of the 3 and easily my fave. The bars are even more engaging and badass here. The beats, from what I understand, are paired down in terms of samples and that aesthetic of taking other samples and stitching together a beat due to it being 1994 and more and more lawsuits started to be filed. The age of the sample-heavy album was ending in mainstream or more popular hip hop, and the beats generally and certainly here started being electronic and more self-produced or even self-performed from what I understand. That all makes for Pete Rock completely reinventing himself and doing better than ever creating these sonorous, tangible, thumping bassline-lead grooves with more natural sounding drums and some just awesome sounds and textures. Yeah this is solid and I may be adding this to my 1990s chart soon-ish. It's borderline.
Grades-wise, I give All Souled Out a 7.3/10
I give Mecca and The Soul Brother a 7.9/10
and I give The Main Ingredient a 8.3/10 [First added to this chart: 01/05/2022]
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I listened to this probably 4 times over the last 3 days, this was a very good weekend of old school stockholm death metal. This album kicks ass! I feel like I shoulda clicked with this sooner especially after falling in love with Dismember. But anyway this is a badass album. The only gripe is the vocals at times are a bit silly (only when they go super low and affected like on the last track, or when the singer gets all dramtically high pitched and strained like on the second track I think ... mostly vocals are very sturdy and good). The riff work is sick and crunchy and creative throughout. The Bass work caught me off guard because the bass absolutely takes over at points and its sublime. The way the bassist sometimes will turn up and rattle around and underneath the already heavy guitar and drum assault and rattle my brain a bit is fabulous.
There is also something else special here and its the songwriting and the structure and the heart of the music. This isn't just aimalistic old school death metal stripped of feeling or sophisticated changes and so forth. There are some really incredible and bold switch ups and multi-parted compositions here. Most obviously is on the opening title track, which is 6:30 of stellar writing. The soloing on the back half of that title track is incredible and emotional and on first listen surprising.
The album never gets old or tiresome or redundant, the band keeps the proceedings invigorating and fascinating. This is up there with Like An Ever Flowing Stream or Leprosy or Altars of Madness as one of my fave early death metal albums. [First added to this chart: 01/05/2022]
There is also something else special here and its the songwriting and the structure and the heart of the music. This isn't just aimalistic old school death metal stripped of feeling or sophisticated changes and so forth. There are some really incredible and bold switch ups and multi-parted compositions here. Most obviously is on the opening title track, which is 6:30 of stellar writing. The soloing on the back half of that title track is incredible and emotional and on first listen surprising.
The album never gets old or tiresome or redundant, the band keeps the proceedings invigorating and fascinating. This is up there with Like An Ever Flowing Stream or Leprosy or Altars of Madness as one of my fave early death metal albums. [First added to this chart: 01/05/2022]
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Well, this was intense. It's dark, hell to say its dark seems to be underselling it. Gira and Co, know how to make an epic that absolutely flushes all cheer. The rhythms are almost all so heavy and mechanical and dense, the melodies are dissonant, and the whole roiling flow of this epic is seismically dreary and bleak. That said there are moments when the female vocalist comes in and steals the show,. Love those moments of beauty amidst this onslaught. Emotionally, outside of other swna albums heard, the closest thing to this existential Christian journey I can think of are the last few Lingua Ignota albums especially the newest one. But that said outside of the general intensity of darkness and the subject matter broadly, there is very little similarity to Get Ready Sinner.
My critiques are not truly critiques because everything is done so intentionally and the vision is brought to life as far as I can tell. But the things that didn't jive with me is the oppressive darkness and mood. This is weird because in recent months I have been really REALLY into apocalyptic, unrelentingly hopeless albums. But I like and dig the music in albums such as Through Silver In Blood more than this style. Also Gira's vocals are just not my thing. He is a master of creating these epics and playing them and composing them and being the ringleader of these huge labyrinthine albums, but a vocalist I ever enjoy listening to he is not. That is probably why, while I enjoyed and was impressed with this whole album, the moments with the other vocalist are the moments that really rose high.
I have heard the early no wave/industrial filthy albums but its been awhile and don't have much of an opinion. I have heard Soundtracks for the Blind and that is great if, again, not really my speed (desperately deserves a revisit), I have heard the Seer and it's been a long time so not sure how well I like that one and I recently-ish heard To Be Kind and while I kind of had a negative reaction to that album at the time, it has grown on me to a point now where I have no interest in hearing it again but I respect it for its sound and ambition and execution. This one is right in between Soundtracks for the Blind and To Be Kind (the only other 2 that are clear in my mind). It was clearly a major shifting point in the size and scope and sound and ambition of this bands when this was made in 1987. Glad I heard it. [First added to this chart: 01/05/2022]
My critiques are not truly critiques because everything is done so intentionally and the vision is brought to life as far as I can tell. But the things that didn't jive with me is the oppressive darkness and mood. This is weird because in recent months I have been really REALLY into apocalyptic, unrelentingly hopeless albums. But I like and dig the music in albums such as Through Silver In Blood more than this style. Also Gira's vocals are just not my thing. He is a master of creating these epics and playing them and composing them and being the ringleader of these huge labyrinthine albums, but a vocalist I ever enjoy listening to he is not. That is probably why, while I enjoyed and was impressed with this whole album, the moments with the other vocalist are the moments that really rose high.
I have heard the early no wave/industrial filthy albums but its been awhile and don't have much of an opinion. I have heard Soundtracks for the Blind and that is great if, again, not really my speed (desperately deserves a revisit), I have heard the Seer and it's been a long time so not sure how well I like that one and I recently-ish heard To Be Kind and while I kind of had a negative reaction to that album at the time, it has grown on me to a point now where I have no interest in hearing it again but I respect it for its sound and ambition and execution. This one is right in between Soundtracks for the Blind and To Be Kind (the only other 2 that are clear in my mind). It was clearly a major shifting point in the size and scope and sound and ambition of this bands when this was made in 1987. Glad I heard it. [First added to this chart: 01/05/2022]
Year of Release:
1987
Appears in:
Rank Score:
1,340
Rank in 1987:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
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Due to an error this little comment made at the time is lost...FOREVER!!!!
[First added to this chart: 01/05/2022]
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Well this was a delight to hear. I consider Bad Brains debut to be the greatest hardcore punk LP ever. Only major competition I've heard are Group Sex by Circle Jerks and some days I put DKs' debut or Damaged by Black Flag. But really if you want to hear the best LP released AS an LP (Minor Threat Complete Discog is REALLY the only other thing I put in Bad Brains or Group Sex tier) then look no further than that delicious yellow covered classic from 1982. That being said, hearing many of those songs contained on their debut on this rougher and less fleshed out demo form was awesome. In many ways and on many songs this feels even more like how you should hear it, raw and rabid and impossibly fast. Also, while I like the Reggae tracks on the debut well enough, they are a bit shallow and unfocused in my opinion as played on the debut, and here there is nothing like that. It's just straight up 1979 (super super early and very mindblowing due to how early this was recorded) hardcore punk played at speeds that wouldn't be challenged for 5 or 6 years by the thrash/speed metal kids.
Sadly this isn't on streaming services and not even a full album upload on youtube, so quite ironically while listening to this I was interrupted every 3 minutes by some ridculous ad. For a Hardcore or Grind album this is particularly troublesome because the songs are so short. Anywho... it is now a mission of mine to get a hard copy (vinyl or CD or even Tape would be cute) version of this. [First added to this chart: 01/05/2022]
Sadly this isn't on streaming services and not even a full album upload on youtube, so quite ironically while listening to this I was interrupted every 3 minutes by some ridculous ad. For a Hardcore or Grind album this is particularly troublesome because the songs are so short. Anywho... it is now a mission of mine to get a hard copy (vinyl or CD or even Tape would be cute) version of this. [First added to this chart: 01/05/2022]
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Classic album indeed. Great and somewhat iconic album cover. The debut by one of the greatest bands in metal and certainly black metal history. GFrom what I understand this was an influential album in black metal, helping to usher in a new era for the genre and looking at the date and looking at the major releases before and after this release date, I can visualize this being a massively influential album indeed. I am not super familiar with so called first wave black metal, having only heard the bathory albums and that great 1989 Anno Domini album as far as I can recall. Still, this does seem to take what especially Anno Domini did and perfect it and make it uglier and eviler and more gnarly.
When first I saw this was chosen I was a bit hesitant. As with any album so famous and "Important" I was worried I was just going to be listening for educational purposes, which is generally annoying to me. But after a couple false starts with me being interrupted mid first classic 10 minute track, I finally listened to this through in one sitting. And as it went along I did notice that I was sinking more and more into its world. At first I will admit I felt at arm's length and was a bit irked by the straight up black metal mayhem going on. But by the end of that epic first track I think I was bought in. This album has more texture and detail than I was giving it credit for from my one listen a long while back. I thought it was one-note before, but no now I am hearing the riffs, all ugly and crusty and lo fi, slow down and speed up and get chunky one minute and have this ascending victorious vibe the next, its great. The drumming is classic BM - sound terrible but in the best way, and the constant blast beats become almost soothing after awhile. The vocals are either the most typical black metal vocals ever or perhaps they just were influential to so many after that I only now think they are typical because they were copied. They certainly sound evil and at times pained. The big gnarly walls of sound that the musicians create are certainly impressive.
Certainly one of the better BM albums I've heard. I have noticed, at least as of now, that I have a definite preference for other forms of extreme metal. No album has come and changed fully my perspective on this strange genre. If I were to have a line up of all the most major sub genres of metal and there was an equally acclaimed album presented for each I would probably pick em in this order: Grindcore/Deathgrind>Sludge/Atmo Sludge>Death Metal/Technical Death>Thrash/Speed metal>Black metal/ atmo BM>Doom Metal ... and I am tired of wracking my brain for others. But yeah, BM isn't the least interesting but decidedly lower in terms of hit rate than those other genres ahead. Dead As Dreams, Exercises In Futility, Anthems to the Welkin at Dusk, Filosofem, Bergtatt, have been the main albums in the genre to blow my mind. This debut Darkthrone has not ascended there yet, but its damn fine.
Okay I have rambled on long enough. This was excellent and informative. and EEEEEvIIIIIIIlllll [First added to this chart: 01/05/2022]
When first I saw this was chosen I was a bit hesitant. As with any album so famous and "Important" I was worried I was just going to be listening for educational purposes, which is generally annoying to me. But after a couple false starts with me being interrupted mid first classic 10 minute track, I finally listened to this through in one sitting. And as it went along I did notice that I was sinking more and more into its world. At first I will admit I felt at arm's length and was a bit irked by the straight up black metal mayhem going on. But by the end of that epic first track I think I was bought in. This album has more texture and detail than I was giving it credit for from my one listen a long while back. I thought it was one-note before, but no now I am hearing the riffs, all ugly and crusty and lo fi, slow down and speed up and get chunky one minute and have this ascending victorious vibe the next, its great. The drumming is classic BM - sound terrible but in the best way, and the constant blast beats become almost soothing after awhile. The vocals are either the most typical black metal vocals ever or perhaps they just were influential to so many after that I only now think they are typical because they were copied. They certainly sound evil and at times pained. The big gnarly walls of sound that the musicians create are certainly impressive.
Certainly one of the better BM albums I've heard. I have noticed, at least as of now, that I have a definite preference for other forms of extreme metal. No album has come and changed fully my perspective on this strange genre. If I were to have a line up of all the most major sub genres of metal and there was an equally acclaimed album presented for each I would probably pick em in this order: Grindcore/Deathgrind>Sludge/Atmo Sludge>Death Metal/Technical Death>Thrash/Speed metal>Black metal/ atmo BM>Doom Metal ... and I am tired of wracking my brain for others. But yeah, BM isn't the least interesting but decidedly lower in terms of hit rate than those other genres ahead. Dead As Dreams, Exercises In Futility, Anthems to the Welkin at Dusk, Filosofem, Bergtatt, have been the main albums in the genre to blow my mind. This debut Darkthrone has not ascended there yet, but its damn fine.
Okay I have rambled on long enough. This was excellent and informative. and EEEEEvIIIIIIIlllll [First added to this chart: 01/05/2022]
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This didn't do much for me. Not sure why. I suppose the vocals aren't interesting at all and though the guitars do have a unique and nicely engineered sound, the riffs mostly don't do much for me at this time. The more mathematical elements, the off kilter time signatures and stuff were cool and sometimes when the guitars really exploded alongside the admittedly quite badass bass work, I was swept up in the raging fury of Shellac. But most of the time I was waiting for the really juicy SONGs or pay offs to happen which I didn't catch at least on first listen. This is one of those 90s classics that I have been meaning to hear for ages, and much like Yank Crime or Burritos, Inspiration... this perhaps caught me at a time when 90s classic post-hardcore isn't what I'm deeply craving. But none have really hit.
Drummer and bassist kick ass, the guitars have a metallic, weird sound that I believe they created with some custom guitars or something, and those are some aspects that do legit impress me and make the album unique. [First added to this chart: 01/05/2022]
Drummer and bassist kick ass, the guitars have a metallic, weird sound that I believe they created with some custom guitars or something, and those are some aspects that do legit impress me and make the album unique. [First added to this chart: 01/05/2022]
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Yeah this was great for a majority of its duration. Maybe a few cuts toward the end lost me a little, but shit that opening 20 or 30 minutes was fire. And I am finally starting to understand why the track "Oblivian" is soooo loved by Pitchfork (didn't they rank it best song of the year or one of the best songs of the decade?). For awhile I thought it was just alright, now I think its a brilliant futuristic, dancing, gem. The vocals are great and sweet and the production is vibrant and endearing throughout the LP. I kind of get the hype finally.
[First added to this chart: 01/05/2022]
Year of Release:
2012
Appears in:
Rank Score:
2,967
Rank in 2012:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 100. Page 9 of 10
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part 2 of You must listen to the album below you:canon edition composition
| Decade | Albums | % | |
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| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 2 | 2% | |
| 1960s | 7 | 7% | |
| 1970s | 12 | 12% | |
| 1980s | 6 | 6% | |
| 1990s | 35 | 35% | |
| 2000s | 24 | 24% | |
| 2010s | 14 | 14% | |
| 2020s | 0 | 0% |
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| Neurosis | 2 | 2% | |
| Charles Mingus | 2 | 2% | |
| Queens Of The Stone Age | 2 | 2% | |
| ボリス [Boris] | 2 | 2% | |
| Between The Buried And Me | 2 | 2% | |
| Isis | 2 | 2% | |
| フィッシュマンズ [Fishmans] | 2 | 2% | |
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| Country | Albums | % | |
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55 | 55% | |
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17 | 17% | |
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5 | 5% | |
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5 | 5% | |
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3 | 3% | |
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3 | 3% | |
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2 | 2% | |
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part 2 of You must listen to the album below you:canon edition chart changes
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| Best Artists of 1976 | |
|---|---|
| 1. Stevie Wonder | |
| 2. David Bowie | |
| 3. Ramones | |
| 4. Eagles | |
| 5. Boston | |
| 6. Genesis | |
| 7. Rush | |
| 8. Bob Dylan | |
| 9. The Modern Lovers | |
| 10. Joni Mitchell | |
| 11. Thin Lizzy | |
| 12. Electric Light Orchestra | |
| 13. Rainbow | |
| 14. AC/DC | |
| 15. Steely Dan | |
| 16. Led Zeppelin | |
| 17. Queen | |
| 18. Jean Michel Jarre | |
| 19. Jorge Ben | |
| 20. Aerosmith |