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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This was a really cool album. The deeply heavy grooves and the bluesy soulful lead guitar and the impassioned vocals with surprisingly well written hooks and melodies, it was all solid. I'm glad I heard it.
The heavy psych elements and the corresponding impassioned soloing ws some of my favorite bits here. The fact that Homme was like 20-21 when he made this classic is mind-blowing. This sounds like a whole band of hardened hard rock metal veterans. The grooves especially side 1 blew me away but I think the whole 52 minutes was worthwhile and excellent and I plan to return to this soon.
I like that this was almost perfectly split between heavy thick slabs of metal and thick slabs of hard rock. You can hear quite clearly the slight differences between these styles within this album. I may slightly prefer the more in the red, wild ly heavy metal parts slightly more but its the way the heavier parts play off the almost catchy groovy rock bits that makes this album work so well.
anyway, yep its cool. [First added to this chart: 08/26/2021]
The heavy psych elements and the corresponding impassioned soloing ws some of my favorite bits here. The fact that Homme was like 20-21 when he made this classic is mind-blowing. This sounds like a whole band of hardened hard rock metal veterans. The grooves especially side 1 blew me away but I think the whole 52 minutes was worthwhile and excellent and I plan to return to this soon.
I like that this was almost perfectly split between heavy thick slabs of metal and thick slabs of hard rock. You can hear quite clearly the slight differences between these styles within this album. I may slightly prefer the more in the red, wild ly heavy metal parts slightly more but its the way the heavier parts play off the almost catchy groovy rock bits that makes this album work so well.
anyway, yep its cool. [First added to this chart: 08/26/2021]
Year of Release:
1994
Appears in:
Rank Score:
1,850
Rank in 1994:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
17
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This is a GREAT album. This may be my 2nd or lowest 3rd fave Mingus yet. Its such a killer album start to finish. It has a soulfulness and a humanity that is so warm and relatable. It also manages not to sacrifice any of its next-level arrangements to achieve this warmth and familiarity. So, I guess I'm saying, it communicates deeply in both an emotional and mental way. The music is mysterious and gorgeous, and its adventurous and swinging. It's all things and it flows beautifully. Despite being the longest of Mingus' albums I've heard, it flows and so nicely and never wears out its welcome with any track, so it feels like a 45 minute album when its really 60.
I am no jazz expert or fan (although I do adore Miles Davis and some Mingus and Colktrane and a few oddballs outside of that big three) so I tend to have a hard time pinning down what a great jazz album to my ears does well. If its too technical I tend to drift off and stop caring. Also if its too familiar and set in a familiar mode, I also juist drift off and get bored. For the records I adore in this "genre" (hardly a genre, its a whole musical vista, with more variety than can be said to exist in a "genre) I think that there has to be both a compelling mood and style that keeps me engaged, it has to be complex and unpredictable enough to keep me on my toes, and it has to be full of gorgeous or aesthetically impactful moments (such as with solos or hooks or whatever...something that almost takes my breathe away and makes me say "whoa!".)
This album has those qualities. As of now it goes for me, off the top of my head:
#1. Black Saint and the Sinner Lady - 9.5/10
#2. Mingus Ah Um - 8.5/10
#3. Let My Children Hear Music - 8.5/10
#4. Roots and Blues - 7.8ish/10
#5. Tijuana Moods - 7.5/10
#6. Mingus Mingus Mingus Mingus Mingus - 7/10
those are the ones I really remember. May have heard others but it hardly counts.
Anyway, great stuff. Glad I heard it. [First added to this chart: 08/26/2021]
I am no jazz expert or fan (although I do adore Miles Davis and some Mingus and Colktrane and a few oddballs outside of that big three) so I tend to have a hard time pinning down what a great jazz album to my ears does well. If its too technical I tend to drift off and stop caring. Also if its too familiar and set in a familiar mode, I also juist drift off and get bored. For the records I adore in this "genre" (hardly a genre, its a whole musical vista, with more variety than can be said to exist in a "genre) I think that there has to be both a compelling mood and style that keeps me engaged, it has to be complex and unpredictable enough to keep me on my toes, and it has to be full of gorgeous or aesthetically impactful moments (such as with solos or hooks or whatever...something that almost takes my breathe away and makes me say "whoa!".)
This album has those qualities. As of now it goes for me, off the top of my head:
#1. Black Saint and the Sinner Lady - 9.5/10
#2. Mingus Ah Um - 8.5/10
#3. Let My Children Hear Music - 8.5/10
#4. Roots and Blues - 7.8ish/10
#5. Tijuana Moods - 7.5/10
#6. Mingus Mingus Mingus Mingus Mingus - 7/10
those are the ones I really remember. May have heard others but it hardly counts.
Anyway, great stuff. Glad I heard it. [First added to this chart: 08/26/2021]
Year of Release:
1972
Appears in:
Rank Score:
1,040
Rank in 1972:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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This was lovely. It was dreamy, airy, and a nice escape from the more hectic parts of life. Its just an expertly crafted pop album good enough to put almost any other pop album to shame. The variety of sounds and styles that the duo is yet able to fit together and make cohesive is downright impressive.
A year ago or so Luigii on this game thread said I should check out this album after not responding super well to their even more famous 2003 album. I see why he thought I may vibe with this one more. This is more accessible. The main issue I had about Velocity:Design:Comfort was simply the glitchy electronic stuff. Simply a personal preference point as I recognized even then that what they were doing with the electronic elements was detailed and impressive - just irksome to my more acoustic sensibilities. This album though is filled with just as many gorgeous melodies and glimmering pop moments as the preceeding album but without the more jarring bits, the "pleb-filters" so to speak. Smile
Anyway, there are few times when I really fall in love with dream pop or indie rock/pop of a more gauzy, airy quality, and I won't say I have "fallen for" this one either. I will say I enjoyed it a lot and it was a nice change of pace from what I have been listening to lately. Expertly crafted mix of various pop genres. And this is a good listen also because I do want to hear their 2021 release which is getting a lot of love, and I feel I am more set up for that album now. 3.5/5 I guess if I gave it a personal grade. [First added to this chart: 08/26/2021]
A year ago or so Luigii on this game thread said I should check out this album after not responding super well to their even more famous 2003 album. I see why he thought I may vibe with this one more. This is more accessible. The main issue I had about Velocity:Design:Comfort was simply the glitchy electronic stuff. Simply a personal preference point as I recognized even then that what they were doing with the electronic elements was detailed and impressive - just irksome to my more acoustic sensibilities. This album though is filled with just as many gorgeous melodies and glimmering pop moments as the preceeding album but without the more jarring bits, the "pleb-filters" so to speak. Smile
Anyway, there are few times when I really fall in love with dream pop or indie rock/pop of a more gauzy, airy quality, and I won't say I have "fallen for" this one either. I will say I enjoyed it a lot and it was a nice change of pace from what I have been listening to lately. Expertly crafted mix of various pop genres. And this is a good listen also because I do want to hear their 2021 release which is getting a lot of love, and I feel I am more set up for that album now. 3.5/5 I guess if I gave it a personal grade. [First added to this chart: 08/26/2021]
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Not much to say about this. Or, rather, not much that I myself can think to say about this. It’s great musicians making some music. I can’t say the music moved me, amazed me or blew me away. It didn’t break through and kick its way into my mind or hit me emotionally or spiritually. But that is the case with a lot of acclaimed jazz albums. Maybe I’ve been so thoroughly indoctrinated or trained into listening to music with an almost simplistic aim to make me relate or to make me see what is being communicated in a direct way that music like this which is a bit more … idk… aloof? Hard to grasp?… that I just can’t quite feel the music. I like it. It’s good. I don’t know.
I keep trying to really get classic jazz and especially Coltrane records of the pre-A Love Supreme/Spiritual Jazz/Free jazz eras. And it has yet to really blow me away or take hold of me. Although all of em have been good to great and always impressive (Talking about Blue Train, Giant Steps, Ole Coltrane, this album, My Favorite Things…), none have made me fall in love and feel something DEEPLY SPIRITUAL like A Love Supreme or has made me feel such deep primal feelings (at least partially of horror) like Ascension.
Whatever, this is a poorly worded post. Basically I liked it but felt like I was most definitely on the outside, observing respectfully from Afar. [First added to this chart: 08/26/2021]
I keep trying to really get classic jazz and especially Coltrane records of the pre-A Love Supreme/Spiritual Jazz/Free jazz eras. And it has yet to really blow me away or take hold of me. Although all of em have been good to great and always impressive (Talking about Blue Train, Giant Steps, Ole Coltrane, this album, My Favorite Things…), none have made me fall in love and feel something DEEPLY SPIRITUAL like A Love Supreme or has made me feel such deep primal feelings (at least partially of horror) like Ascension.
Whatever, this is a poorly worded post. Basically I liked it but felt like I was most definitely on the outside, observing respectfully from Afar. [First added to this chart: 08/26/2021]
Year of Release:
1961
Appears in:
Rank Score:
572
Rank in 1961:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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Okay I have now listened and listened closely and I liked it. Was still not awed or blown away. But I found that the entire overly long length of the album was engaging and wasn't 100% a slog like I remember. This is a rich and powerful post punk album. The heavier, louder, more abrasive sounding parts are a bit much and actually kinda hurt my ears (punk roooock!!!) and that was not in a way I always loved. The slower more somber longer and drawn out slowly building ambient or even slow folk songs are great.
Something tells me this is like an onion... I am sure there are many layers of meaning and metaphor and sound that if I listened a bit more times through and listened closely, I would find myself more and more engaged in this modern classic. And I may yet do that. I certainly was impressed enouigh by the sheer beauty and ambition of the album and I am impressed with how, at times, this album pulls you into deep, swirling whirlpools of emotion and atmosphere. Very cool. Overall I did think (quite shallow comment coming) it is a bit too long, and it lost me at points. SAtill, even this "weakness" may be one that I won't even count as a critique after a few more revisits.
Good stuff and I am glad I am no longer giving it such short shrift. [First added to this chart: 08/26/2021]
Something tells me this is like an onion... I am sure there are many layers of meaning and metaphor and sound that if I listened a bit more times through and listened closely, I would find myself more and more engaged in this modern classic. And I may yet do that. I certainly was impressed enouigh by the sheer beauty and ambition of the album and I am impressed with how, at times, this album pulls you into deep, swirling whirlpools of emotion and atmosphere. Very cool. Overall I did think (quite shallow comment coming) it is a bit too long, and it lost me at points. SAtill, even this "weakness" may be one that I won't even count as a critique after a few more revisits.
Good stuff and I am glad I am no longer giving it such short shrift. [First added to this chart: 08/26/2021]
Year of Release:
2008
Appears in:
Rank Score:
4,772
Rank in 2008:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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This was excellent. I felt while listening that this is a gorgeous and consistent and melodically rich album, that is subtle. Subtler than Selling England by the Pound and The Lamb Lies Down on Broadway. What I mean is quite simplistic - there are few “WHOA! HOLY SHIZ!” moments on Foxtrot. There are moments of grandeur and moments of propulsive heaviness on Selling England… and The Lamb… which this album doesn’t have. At least based off what I noticed this time through.
Also this album doesn’t sound super dated. The main thing in old Prog of this era that, for me, dates it and can admittedly make me feel a little embarrassed is that super bright, outlandish keyboard sound. That sound I didn’t notice until the massive end track “Supper’s Ready”. It was good keyboard playing and technical and expressive - but was less my thing than most of the other art rock, literate softness that dominated the first tracks and most of the rest of Supper’s Ready.
Supper’s Ready tho, I have to say, was incredible. When I saw 23 minutes (broken into 7 parts that aren’t noted on Apple Music) I was a little daunted. My experience with these types of MASSIVE suites in Prog is hit and miss. I consider Yes’ Close to the Edge to be perhaps the single greatest “song” I’ve ever heard and I worship it. But I consider Jethro Tull’s Thick as a Brick to be mostly a slog. And even Yes couldn’t capture that same level of brilliance in subsequent albums with 18-22 minute tracks (though none of them are less than great). Anyway, back to Supper’s Ready, I thought the lyrics and the whole equal parts philosophical and heart-wrenching writing to be masterful and the way it builds and crescendos at the end would put GY!BE to shame.
The rest of the track list was cool. Need a few more listens to really pinpoint particularly great moments. But there were half a dozen times I was struck by some chord change or melody and thought it was cool as hell.
Great album. Will revisit.
Oh and I went ahead and listened again to The Lamb Lies Down on Broadway. After Foxtrot I was just in a Genesis/Peter Gabriel mood. And… it was great. Like awesome. Not sure which brand of artsy Prog I liked more - Foxtrot or Lamb - but both were excellent in unique ways. Genesis really were on a tear in the early 70s. I’ve heard Nursery Cryme is also quite good. Will get to that in this game eventually - but probably I was skip ahead and listen to it before we get that far down (or up this list - as we are working from both sides). Peter Gabriel vocally and personality wise is one of the most strange and unique and genius rock musicians of all time. I kind of already knew that but this last 2.5 hours of listening sort of cemented that take. [First added to this chart: 08/26/2021]
Also this album doesn’t sound super dated. The main thing in old Prog of this era that, for me, dates it and can admittedly make me feel a little embarrassed is that super bright, outlandish keyboard sound. That sound I didn’t notice until the massive end track “Supper’s Ready”. It was good keyboard playing and technical and expressive - but was less my thing than most of the other art rock, literate softness that dominated the first tracks and most of the rest of Supper’s Ready.
Supper’s Ready tho, I have to say, was incredible. When I saw 23 minutes (broken into 7 parts that aren’t noted on Apple Music) I was a little daunted. My experience with these types of MASSIVE suites in Prog is hit and miss. I consider Yes’ Close to the Edge to be perhaps the single greatest “song” I’ve ever heard and I worship it. But I consider Jethro Tull’s Thick as a Brick to be mostly a slog. And even Yes couldn’t capture that same level of brilliance in subsequent albums with 18-22 minute tracks (though none of them are less than great). Anyway, back to Supper’s Ready, I thought the lyrics and the whole equal parts philosophical and heart-wrenching writing to be masterful and the way it builds and crescendos at the end would put GY!BE to shame.
The rest of the track list was cool. Need a few more listens to really pinpoint particularly great moments. But there were half a dozen times I was struck by some chord change or melody and thought it was cool as hell.
Great album. Will revisit.
Oh and I went ahead and listened again to The Lamb Lies Down on Broadway. After Foxtrot I was just in a Genesis/Peter Gabriel mood. And… it was great. Like awesome. Not sure which brand of artsy Prog I liked more - Foxtrot or Lamb - but both were excellent in unique ways. Genesis really were on a tear in the early 70s. I’ve heard Nursery Cryme is also quite good. Will get to that in this game eventually - but probably I was skip ahead and listen to it before we get that far down (or up this list - as we are working from both sides). Peter Gabriel vocally and personality wise is one of the most strange and unique and genius rock musicians of all time. I kind of already knew that but this last 2.5 hours of listening sort of cemented that take. [First added to this chart: 08/26/2021]
Year of Release:
1972
Appears in:
Rank Score:
5,842
Rank in 1972:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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Of all the recent albums I’ve been listening to for the RYM top 1000 list, this is probably my fave. Off screen I went and listened ahead and listened to Fiona’s When A Pawn… and that was another one I adored and gave 4.5 score to. It’s rare that I hear an album and like it so much so quickly. This album is stellar.
I don’t know exactly why I love it so much. I think because it has an emotional core to it that I don’t find in much Prog. Some of the melodies especially the keyboard parts and a good amount of guitar lines are so gorgeous and soaring and powerful. The guitar line/reoccurring melody on Lady Fantasy is sublime and some of the coolest and most rich stuff I’ve heard in awhile.
The band also can rock more intensely when needed. It’s awe-inspiring when they just “let loose” (in quotes because they are always controlled and precise even in the more intense rocking moments).
Also technical mastery has always been something that is almost a direct index of how much I can really relate to music. I guess on either extreme I don’t feel a connection. If a band or artist sucks and can’t play for shit I also don’t like it much or connect. (Usually). But certainly when I hear intensely technical Prog or prog death metal or fusion sometimes this just sorta bewilders and hard me out of the moment. This happens a lot with those genres. But with this album and hopefully band (I’ll soon listen to their other classics) while sure there is a precise sound and there are rhythm changes and I’m sure what is happening is complex and is cat nip for Prog heads, I can’t think of a single time I weird change or uptick in technicality took me out of the heart of the song. My immersion is never broken with this album. I think this is because the songs and the melodies or gorgeous and so well written and logical.
The vocals are the only part I don’t think is 9-10/10. They are fine and they sound peaceful and they work well in the context of the music and it’s great not hearing a showboat lead singer, one who just embodies the song and does his job in a rock solid way. They aren’t super distinctive, but they’re good and basically just what this album needs.
Anyway, I love this. Listening for the 3rd time now. And I think I like it more. This is possible overall chart worthy once I take it off private. Certainly going high on a super super stacked decade chart. I highly recommend this album to all ye music fans. Even if you don’t generally love Prog rock. [First added to this chart: 08/26/2021]
I don’t know exactly why I love it so much. I think because it has an emotional core to it that I don’t find in much Prog. Some of the melodies especially the keyboard parts and a good amount of guitar lines are so gorgeous and soaring and powerful. The guitar line/reoccurring melody on Lady Fantasy is sublime and some of the coolest and most rich stuff I’ve heard in awhile.
The band also can rock more intensely when needed. It’s awe-inspiring when they just “let loose” (in quotes because they are always controlled and precise even in the more intense rocking moments).
Also technical mastery has always been something that is almost a direct index of how much I can really relate to music. I guess on either extreme I don’t feel a connection. If a band or artist sucks and can’t play for shit I also don’t like it much or connect. (Usually). But certainly when I hear intensely technical Prog or prog death metal or fusion sometimes this just sorta bewilders and hard me out of the moment. This happens a lot with those genres. But with this album and hopefully band (I’ll soon listen to their other classics) while sure there is a precise sound and there are rhythm changes and I’m sure what is happening is complex and is cat nip for Prog heads, I can’t think of a single time I weird change or uptick in technicality took me out of the heart of the song. My immersion is never broken with this album. I think this is because the songs and the melodies or gorgeous and so well written and logical.
The vocals are the only part I don’t think is 9-10/10. They are fine and they sound peaceful and they work well in the context of the music and it’s great not hearing a showboat lead singer, one who just embodies the song and does his job in a rock solid way. They aren’t super distinctive, but they’re good and basically just what this album needs.
Anyway, I love this. Listening for the 3rd time now. And I think I like it more. This is possible overall chart worthy once I take it off private. Certainly going high on a super super stacked decade chart. I highly recommend this album to all ye music fans. Even if you don’t generally love Prog rock. [First added to this chart: 08/26/2021]
Year of Release:
1974
Appears in:
Rank Score:
2,566
Rank in 1974:
Rank in 1970s:
Overall Rank:
Average Rating:
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Went ahead and listened also to that 2019 JPEGMAFIA album. I thought Cornballs was pretty good. I thought this one, Soul Station, was good. Its another Hard Bop/Jazz of this era album that I thought was admirable and well played (obviously) and I especially love the subdued and versatile playing of Mobley on sax. IO liked the bass playing a lot and the drummer was dope. Some of the extended piano solos and bits were alright but less my thing. Overall, well, this was good. I enjoyed listening to this while soing some boring work from home. Sorry my jazz comments (and others - its not just jazz - are so bland usually.)
[First added to this chart: 08/26/2021]
Year of Release:
1960
Appears in:
Rank Score:
533
Rank in 1960:
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Overall Rank:
Average Rating:
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Track 1 is a mind bending, slowly disintegrating, super repetitive track that is genius and also if not in right mindset a bit of a bore. i was in mostly the right midnset and i thought it was cool hearing this great simple guitar riff slowly be ripped apart and slowly made out of sync and then disintegrate before my very ears.
Track 2 is a super simple rhythmically track wioth a fucking INCREDIBLE understated long guitar solo. I was surprised how emotionally moved I was. The guitarist for Boris is a beast and she is quickly becoming on of my favorite modern guitarists based off track 2 here and her work on Feedbacker and other limited tracks and albums I've heard. Just stunning, emotive, economical, soulful, excellent all around.
Track 3 is where things gets HEAVY as FUDGE! I love the way it builds and I love that the one vocal part in the whole album was handled so well - would have been a bummer if the one moment the lead singer had to shine was a dud lol. But no its great and it leads right into a thundering, end-opf-days stoner/doomy riff that sounds like some massive elemental force wiping away continents. what a badass tune. Oh and the way the feedback grows and consumes the tracks in the closing minutes sounds like some gateway to a hellish dimension. absolutely apocalyptic!
Track 4 is perhaps the least instantly recognizably unique, its the slowest grower and burner and perhaps the closest to a post rock sounding song of the 4 (based off my limited experience to the genre). But even here in this 20+ minute epic there are some really interesting layers, a beautiful deeply intriguing bass sound and some really cool and shimmering and building guitar textures. Very cool song. Maybe my least fave, but still cool.
Okay, and the album as a whole flows pretty darn well considering how different each of the 4 tracks are. It works as a massive and fascinating epic. 70 minutes, 4 tracks, each quite long and each having some basic premise of hook that they are playing with and each of the basic ideas of the tracks is extrapolated upon and fleshed out into itrs own unique fully realized Piece. Very VERY impressive record. Damn, Boris are amazing, why have I waited so long to try getting into them?
And while this is post rock, that genre is way more expansive than I initially gave it credit for. I mostly was familiar with GY!BE and somewhat similar bands to them, and I thought maybe the genre was not something I loved. This is an album that is largely something you could call post rock but in a whole other, very abstarct or maybe nopt abstract but experimental and I dig it. [First added to this chart: 08/26/2021]
Track 2 is a super simple rhythmically track wioth a fucking INCREDIBLE understated long guitar solo. I was surprised how emotionally moved I was. The guitarist for Boris is a beast and she is quickly becoming on of my favorite modern guitarists based off track 2 here and her work on Feedbacker and other limited tracks and albums I've heard. Just stunning, emotive, economical, soulful, excellent all around.
Track 3 is where things gets HEAVY as FUDGE! I love the way it builds and I love that the one vocal part in the whole album was handled so well - would have been a bummer if the one moment the lead singer had to shine was a dud lol. But no its great and it leads right into a thundering, end-opf-days stoner/doomy riff that sounds like some massive elemental force wiping away continents. what a badass tune. Oh and the way the feedback grows and consumes the tracks in the closing minutes sounds like some gateway to a hellish dimension. absolutely apocalyptic!
Track 4 is perhaps the least instantly recognizably unique, its the slowest grower and burner and perhaps the closest to a post rock sounding song of the 4 (based off my limited experience to the genre). But even here in this 20+ minute epic there are some really interesting layers, a beautiful deeply intriguing bass sound and some really cool and shimmering and building guitar textures. Very cool song. Maybe my least fave, but still cool.
Okay, and the album as a whole flows pretty darn well considering how different each of the 4 tracks are. It works as a massive and fascinating epic. 70 minutes, 4 tracks, each quite long and each having some basic premise of hook that they are playing with and each of the basic ideas of the tracks is extrapolated upon and fleshed out into itrs own unique fully realized Piece. Very VERY impressive record. Damn, Boris are amazing, why have I waited so long to try getting into them?
And while this is post rock, that genre is way more expansive than I initially gave it credit for. I mostly was familiar with GY!BE and somewhat similar bands to them, and I thought maybe the genre was not something I loved. This is an album that is largely something you could call post rock but in a whole other, very abstarct or maybe nopt abstract but experimental and I dig it. [First added to this chart: 08/26/2021]
Year of Release:
2000
Appears in:
Rank Score:
1,304
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
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Yes, this is indeed quite excellent. I have finally seen the light. At least I can hear what makes it special. It's actually a super intense and well reounded album. Not just scary and loud and abrasive (although its that in spades) but also crushingly sad and gloomy and dare I say "atmospheric". It sounds like a nightmarish whirl pool. And nightmares, at least for me, aren't always or even usually slasher horror scenes, they are for me anyway these surreal yet too real visions of loss and intense anguish and anxiety. And this album covers that whole gamut of emotions. Not a soft, silly moment to be found in these 49 minutes of noisy, experimental, explosive "rock" tracks.
The band is so damn intense and heavy and on point throughout this album. The performances by all of them is astounding. The drummer and bassist in particular absolutely crush it. The guitar tones are so brilliantly awful and ugly and yet creative and genuinely awesome.
I think its cool that even in the last few years this band is able to create a distinctive masterpiece in this genre. I have heard plenty of noisy and brutal industrial/Noise/Expeirmental rock that in theory should be very similar to this and yet I can't say I was ever like "Oh yeah, cool, that sounds like a track from such and such and so and so". Daughters did manage to carve out a sound that is their own and also create an album not only original and wild, but also impeccably produced and performed full of soon-to-be classics moments and tracks.
"The Reason They Hate Me" is my favorite right now. But there is not a dud to be found here.
Is this an album I foresee returning to over and over and falling madly in love with? No, not really. Its just for my taste a bit too oppressively intense. Butr it is an album that I will not be forgetting any time soon. It has managed to dig its claws and fangs deep into my musical psyche or somesuch bullshit metaphor or whatever.
Okay, that's all... It's good to be back. I'll try not to disappear for awhile, friends. [First added to this chart: 08/26/2021]
The band is so damn intense and heavy and on point throughout this album. The performances by all of them is astounding. The drummer and bassist in particular absolutely crush it. The guitar tones are so brilliantly awful and ugly and yet creative and genuinely awesome.
I think its cool that even in the last few years this band is able to create a distinctive masterpiece in this genre. I have heard plenty of noisy and brutal industrial/Noise/Expeirmental rock that in theory should be very similar to this and yet I can't say I was ever like "Oh yeah, cool, that sounds like a track from such and such and so and so". Daughters did manage to carve out a sound that is their own and also create an album not only original and wild, but also impeccably produced and performed full of soon-to-be classics moments and tracks.
"The Reason They Hate Me" is my favorite right now. But there is not a dud to be found here.
Is this an album I foresee returning to over and over and falling madly in love with? No, not really. Its just for my taste a bit too oppressively intense. Butr it is an album that I will not be forgetting any time soon. It has managed to dig its claws and fangs deep into my musical psyche or somesuch bullshit metaphor or whatever.
Okay, that's all... It's good to be back. I'll try not to disappear for awhile, friends. [First added to this chart: 08/26/2021]
Year of Release:
2018
Appears in:
Rank Score:
3,188
Rank in 2018:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 98. Page 4 of 10
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part 2 of You must listen to the album below you:canon edition composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 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% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Isis | 2 | 2% | |
| フィッシュマンズ [Fishmans] | 2 | 2% | |
| Deathspell Omega | 2 | 2% | |
| Between The Buried And Me | 2 | 2% | |
| Neurosis | 2 | 2% | |
| Charles Mingus | 2 | 2% | |
| Queens Of The Stone Age | 2 | 2% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
55 | 55% | |
 |
17 | 17% | |
 |
5 | 5% | |
 |
5 | 5% | |
 |
3 | 3% | |
 |
3 | 3% | |
 |
2 | 2% | |
| Show all | |||
part 2 of You must listen to the album below you:canon edition chart changes
There have been no changes to this chart.part 2 of You must listen to the album below you:canon edition similar charts
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| Best Artists of 1974 | |
|---|---|
| 1. King Crimson | |
| 2. Neil Young | |
| 3. Genesis | |
| 4. Supertramp | |
| 5. Queen | |
| 6. Brian Eno | |
| 7. Robert Wyatt | |
| 8. Joni Mitchell | |
| 9. David Bowie | |
| 10. Jorge Ben | |
| 11. Camel | |
| 12. Sparks | |
| 13. Big Star | |
| 14. Kraftwerk | |
| 15. Steely Dan | |
| 16. Van Morrison | |
| 17. Frank Zappa | |
| 18. Richard & Linda Thompson | |
| 19. Gene Clark | |
| 20. Roxy Music |