Listed below are the best albums of the 2020s (so far) as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 1 hour ago).
"It might not be as epic as her debut but it's really close, especially after multiple listens. Love how NDA goes right into Therefore I Am. Was worried at first how much I'd like this since her debut was my favorite album of 2019 and the singles on that first one just slapped harder but dang some...""It might not be as epic as her debut but it's really close, especially after multiple listens. Love how NDA goes right into Therefore I Am. Was worried at first how much I'd like this since her debut was my favorite album of 2019 and the singles on that first one just slapped harder but dang some of Happier Than Evers best moments were the non singles like I Didn't Change My Number, Oxytocin, Halley's Comet and Overheated. "[+]Reply
"There are albums I like. There are albums I love. There are albums I consider masterpieces. There are albums that I have a personal connection to and, when thought of, make me smile. There are these things and then there are albums like songs by Adrianne Lenker. There are very, VERY few albums th...""There are albums I like. There are albums I love. There are albums I consider masterpieces. There are albums that I have a personal connection to and, when thought of, make me smile. There are these things and then there are albums like songs by Adrianne Lenker. There are very, VERY few albums that mean quite as much to me as this one here. A handful perhaps. And there are absolutely no other albums, or pieces of art, even that have affected me or been as integral to my life during these last 2 brutal and heartbreaking years as this album. So, as you perhaps can imagine, it is daunting trying to write something about this album. I am too close to it and too fond of it. It’s like talking about your spouse and trying to explain what you love about them. Damned challenging.
And, yet, I shall try to convey my thoughts here in brief. I am thinking I will not do this album justice. I also think that I likely will not attempt to write some grand and professional essay on the merits of this folk album. Instead, I will try to touch on some of the things I like the most, some of the charms that this album has, and some of the lyrics and lines and moments that seem to set this album apart in my mind.
The atmosphere of this record is marvelous and drips from every song and every note. The whole concept of a folk artist going through some shit in life and going to a somewhat remote cabin and isolating oneself to record a reflection of their state-of-mind is perhaps one you’ve heard before. Bon Iver’s debut is perhaps the most famous example of this. And there are many similar instances in history. While I do have a healthy respect for For Emma, Forever Ago and Nebraska and so many of these other similar solo albums recorded in isolation, I feel like songs takes the cake as the best. At least it is, by far, the one that most readily and consistently grabs me. When I hear this woman with a guitar on these recordings, it feels like all the cliches you can name: like I’m in the room with her, or like I am uncomfortably close to someone who should be alone in their hour of working their thoughts out. The album’s start is the sound of a tape recorder starting or clicking into operation, a guitar picked up, then a second later the melancholy yet detailed and beautiful guitar riff of “Two Reverse” and with that I am already on board and there for this album. It’s rare for an album to envelop me with so much atmosphere so consistently and quickly. And the fact that this is done with an adept and beautiful guitar, a brilliant singer and some occasional nature sounds added alone, is brilliant.
The songs themselves on this album called… songs, are…stunning. They are clear emotionally yet when looked at closer line by line, there are mysteries and there are abstractions and little details that are only fully or remotely understood by Adrianne herself. And yet each song has a line or lines that cut right through and make me feel like I have made some deep connection due to how relatable they are.
“Is it a crime to say I still need you?” captures that push and pull of self-conscious analyzing after a break up when so much media and so many people seem to say that in this day and age relationships are fickle and unimportant and nothing to get hung up on, and yet you still long for and need that person.
“Everything eats and is eaten. Time is fed” is a line that always makes me think about how everything is feeding off of other things and things are evolving perpetually and always NOW. Simple line, with a million tons of force behind it.
“Standing in the yard, dressed like a kid. The house is white and the lawn is dead. The lawn is dead” is a line that evokes for me similarly vivid memories and dreams reoccurring of strange things that only seem strange in hindsight. This type of visual comes up all over this album, and it consistently blows me away how Lenker is able to incorporate these visions or scenes into songs and make them come across as they do – just random flashes of recollection.
“Come, help me die, my daughter…” is equal parts heartbreaking, brilliantly evocative as an opening line to the song “come”, and delivered with such ghostly sadness, that the cumulative effect of this is just absolutely stunning. The rest of the song builds on this opening statement, a fragile, dark and deathly track where every line holds so much emotional power it can be overwhelming.
“Oh, emptiness… Tell me ‘bout your nature. Maybe I’ve been getting you wrong. I cover you with questions. I cover you with explanations. Cover you with music.” – This is a lyric which kind of kicks my ass personally because this seems about right. Through questions and agitations and music and distractions and all these things we (or I do at least) attempt to understand the void and the nothingness at the center and at the back of all experience and life as well as, usually, try with all our hearts to not stare directly at the fact that that emptiness and that void is there always at the back of all things.
“And your dearest fantasy is to put a baby in me. I could be a good mother. And I wanna be your wife. So I hold you to my knife. And I steal your letter. Not a lot, just forever.” – here is a line that makes me cry. Or, several lines, really. And I don’t know exactly why. It just strikes me as real. I have nightmares/dreams of women I’ve been with but haven’t seen in years and these similar visions of having children and settling down haunt me. And the way she says those words just kills me and strikes a very personal nerve.
And of course, perhaps the greatest song of all time, or, rather, perhaps my favorite song of all time or at least top 10, the track “anything” is a tumble of scenes from a relationship now long gone. The lines here are each one vivid and personal and yet universal and striking and the chorus… my god that chorus… it’s the most romantic and heartbreaking of choruses – so real and so honest and so direct and yet so poetic – in most songs and in most artists’ and singers’ hands it may come out as trite or sappy, but here? Nope. It comes out as one of the best songs ever. – “I don’t wanna be the owner of your fantasy. I just wanna be a part of your family. And I don’t wanna talk about anything, I don’t wanna talk about anything. I wanna kiss, kiss your eyes again. I wanna witness your eyes looking. I don’t wanna talk about anyone, I don’t wanna talk about anyone. I wanna sleep in your car while you’re driving. Lay on your lap when I’m crying.” – jesus christ.
…. And the list goes on and on. I love this album’s lyrics and the way they are delivered. Which brings me to Adrianne’s singing. I think I’ve seen here and there that some find her voice a bit grating or trying, a bit off and a bit weird. Well, I actually can understand and hear where that thought is coming from. As I have pointed out in other comments on her earlier albums, Lenker has a beautiful voice and when she so chooses she can sing a song as clearly and traditionally as a songbird. But in recent years there is a trend with her singing toward an idiosyncratic, ghostly, almost unvarnished and wavy and wavering and floating and unstable brittle beauty. That new sound and delivery reaches its pinnacle with this album. These are songs full of remembrances and indecision and grief and loss and heartbreak and tender one-on-one moments and so many human experiences and the way Adrianne chooses to express this vocally is, to me, one of the fundamental joys of this album and her music more generally. On some songs she is just floating like a ghost. On others she is almost conversationally talking about dreams and memories, and in others it sounds like her voice may crack at any moment due to the internal strain of trying not to break down. This all works to convey the emotions on songs.
Musically, it is easy to say this is a simple sound – an acoustic folk guitar sound, with some bird noises added in post sometimes, some finger picked stuff, some warm acoustic chords, etc etc… and that is true. But I feel like there are some really special musical moments and melodies here. The production is soooo stripped down and this production style works for this album with this vibe. Still, it isn’t an accident that those opening guitar lines on track 1 “Two Reverse” sound so crisp and distinct and so much better than almost any other simple woman+guitar type song. The production is doing some good work but it knows to not be intrusive even a little. The song structures and the writing musically here are perfect, not a note or chord feels wrong. And as a result, despite this being “just boring ol’ folk guitar music” this album never feels remotely derivative or boring or unengaging in the slightest. Every tone and sound fits and contributes to the power of the album, the messages being communicated, etc.
More broadly, what does this whole album and all of its parts mean to me? Well, I, like many, many around the world, had a tough time in 2020. This album was first heard by me in December 2020 and right from the jump it felt like I was hearing something bracing and needed on a spiritual level. This is an album that, when I don’t have any urges or motivations generally in life and I am feeling a bit stymied and lost, I often will play and the sound of these songs always picks me up a bit. It captures how I feel so often. Sad, lost, almost beaten, but never quite. And the fact that I can always come back to this statement and this record no matter what else is happening, and know that my friend (although I don’t know her at all and only know her music – she feels like a peer and friend) is here always with these songs and these images and this strange reassuring artistic statement gives me great peace. And it has given me much peace and succor over these hellish and heartbreaking last 16 or so months since I first heard it.
To say I love and appreciate this artist and this album would be an understatement. It is, without a doubt, one of the most important and loved pieces of art of my life and I will always ALWAYS feel a fondness and appreciation to it and the artist responsible. Thank you, Adrianne. You have no idea how much your music has helped me these last couple years and will continue to help me over the next many years as well.
10/10… of course. This is a pantheon, upper tier, all time great album. There is no more obvious 10/10 I could ever give."[+]Reply
"Thanks, Melon! Seriously, as much as we've been discussing on this site whether Fantano is too influential on people's taste, I probably wouldn't have discovered this album without him! It's a beautiful piece of work, evoking artists such as Kate Bush, Joanna Newsom and Stevie Wonder, while at th...""Thanks, Melon! Seriously, as much as we've been discussing on this site whether Fantano is too influential on people's taste, I probably wouldn't have discovered this album without him! It's a beautiful piece of work, evoking artists such as Kate Bush, Joanna Newsom and Stevie Wonder, while at the same time being entirely unique. Gets a bit more abstract in the second half, but throughout it's vital, with gorgeous arrangements, production, and songwriting. The lyrics are political but also universal, applicable to a number of interpretations. It is it's own world, and it's the best album I've heard this year - although I haven't been keeping up with new releases as much as I'd like, so it's perhaps not saying much."[+]Reply
"“Wetleg” tries a bit too hard to be clever. Songs attempt to have this wry sense of humor about them, but it rarely hits the mark. This produces groaner lyrics such as “To tell me if I'm thin or fat, to tell me should I shave my rat”. The focus on wordplay also comes at the cost of thematic meani...""“Wetleg” tries a bit too hard to be clever. Songs attempt to have this wry sense of humor about them, but it rarely hits the mark. This produces groaner lyrics such as “To tell me if I'm thin or fat, to tell me should I shave my rat”. The focus on wordplay also comes at the cost of thematic meaning. They will jump from innuendo to innuendo without building a foundation of feeling. This is most apparent on the break-up tracks, which all together only amount to only “Piss off, loser”. Instrumentally, there is competent jangle pop, but with the exception of “Wet Dream” no stand-out guitar lines. If you put your tongue too far into your cheek, no one will know what you are saying."[+]Reply
"For a band that was releasing brilliant music 30 years ago to come out with something as good as this in 2023 is remarkable. Its albums and artists like these that reminds us of why we all love music so much , certainly one of years best albums and possibly the most pleasing return by a band last...""For a band that was releasing brilliant music 30 years ago to come out with something as good as this in 2023 is remarkable. Its albums and artists like these that reminds us of why we all love music so much , certainly one of years best albums and possibly the most pleasing return by a band last year 8/10 for me "[+]Reply
"This is the first time of have been slightly disappointed by a Tyler album due to a lack of evolution of his sound, which mimics Flower Boy and CMIYGL but with diminishing returns. After the release of Sorry Not Sorry, I was expecting Tyler to really change things up. Despite lyrics inferring tha...""This is the first time of have been slightly disappointed by a Tyler album due to a lack of evolution of his sound, which mimics Flower Boy and CMIYGL but with diminishing returns. After the release of Sorry Not Sorry, I was expecting Tyler to really change things up. Despite lyrics inferring that he is done with hiding behind characters, it still feels like he is hiding behind familiar tricks. Most of the individual tracks are solid enough but I feel they don't quite come together to create something special in the way that FB and Igor did."[+]Reply
"This is the Gorillaz album I’d been waiting fifteen years for. Demon Days felt like the ultimate pleaser and the best, most distilled record Gorillaz could have released. I loved Plastic Beach and has some real moments of genius, but just seems a little high concept and disjointed in places. Huma...""This is the Gorillaz album I’d been waiting fifteen years for. Demon Days felt like the ultimate pleaser and the best, most distilled record Gorillaz could have released. I loved Plastic Beach and has some real moments of genius, but just seems a little high concept and disjointed in places.
Humanz and The Now Now had decent moments but were not great albums.
With Song Machine, Damon has truly perfect the craft of what Gorillaz should be in 2020. Playful, daring and the bi-monthly “single” format allows them to fully immerse on a single track - carefully curated guest stars, artwork and a video to tie it together.
The only real criticism I have is the artwork and title... if it read less like a compilation and had a great Jamie Hewlett cover then I strongly feel it would’ve charted higher in end of year lists."[+]Reply
"sorry in advance for the following: (Basically, I liked it. Everyone or nearly everyone reading this knows who this band is and what Post rock is and that this band and that genre are linked inextricably. It's a solid album. Leave now unless you want to read my unending comment which starts in 3....""sorry in advance for the following:
(Basically, I liked it. Everyone or nearly everyone reading this knows who this band is and what Post rock is and that this band and that genre are linked inextricably. It's a solid album. Leave now unless you want to read my unending comment which starts in 3... 2... )
1... ---------I don't know how I feel about this album. Not exactly. Same goes for this iconic band. And, as this band's work encompasses all existence and transcends life and is up in the ether hobnobbing with Infinity itself per their most ardent fans, I suppose this means I don't know what to think of life, the universe, or anything. Which, come to think of it, is true.
But, to elaborate, I don't know where my thoughts fall yet after 2 listens to this album about urine of god ending states. As with all GY!BE albums, this is a detailed and many-layered beast, grasping for questions and answers rarely asked or sought in rock music. All this without saying a thing. On first listen I was transfixed and transported and when the album ended I said "well, shit" and wondered if this was going to be my end-of-year number 1 album. On second listen my subjective response was a bit muted. Although, certain crescendos (they sure do love their crescendos and builds... don't worry this won't be yet another annoying nerdy asshat rant about "Crescendocore" and "oh, oh, this has been done, like, a million times, gosh!" or "wtf can't anyone hear that this is not gooood? it's nothing compared to Tortoise." blah blah blah. Don't worry, I can't stand those people as much as you can't stand them. ) and moments are just as mindboggling on second and now third listen as they were in my first. The things that maybe I was less engaged with were the shorter and less "buildy" songs, or, rather, parts or pieces. Although without exception each one of these tracks/parts, short and long, are rich and well-conceived, some of the hors d'oevre tracks left me less than blown away. I suspect this is an opinion that will change or at least develop with repeat listens and perhaps I'll start mentally stitching this newest Godspeed conception together. For now though some of the sounds at the beginning of the 2 main 20 minute pieces didn't engage me a whole lot.
But see, as I write this I am listening a third time, and you know what? I'm already starting to feel my opinions shift mercurially as I type. Damn you, Godspeed! Now I'm wondering again if this is AOTY contender. And this vacillation is making for a REALLY shitty comment. (Future self, 1 hour after typing last sentence, I end up yet again in between Really solid and AOTY, as of now, after 4 listens, its like top 10 album of year, okay lets continue and see what other crazy shit this wild ginger says...)
Let me talk through a couple of these tracks here and see if that helps clarify my opinions... Okay, starting with the end, "OUR SIDE HAS TO WIN (for D.H.)" is a pitch perfect, tear-inducing, muddy, noisy, serene and haunting ambient piece and a perfect closer to the album. The last minute of this thing made me feel like Frodo rolling out of Rivendell with the boys.
Now going back toward the beginning, I thought the opening bit with the word Military in the name, wasn't particularly special even 4 listens in, but finally 20% into "Job's Lament" shit starts getting tense and maybe i'm just too simple for this post rock stuff, but I get most hyped about those HEAVY bass notes and that staticy guitar as it builds up to the muscular close of that track. This leads into the first "Holy Shit...is you angels?" moment of the album for me, when the guitar comes searing in with the faint sound of voices melded in, that is a nice moment. Brilliant, really. Only lasts for a couple minutes, then some cool down from that high and then some gunshot noises annnnndddd close first big suite. The in-between track that follows and is jammed betwixt the 2 MEGA post rock suites "Fire At Static Valley" is quite nice. Its not the same level as the closer, but quite gorgeous.
Okay, and then as for the second big suite, I probably won't go into detail what I thought of each piece within like I did with the first, but I can say that almost everything about "GOVERNMENT CAME pretentious coordinates or something" is dope. Almost all 11 minutes of it was candy to me ears. The first 5 minutes are build up and pretty good build up as it has that dark power that is what I loved about F#A# Infinity, but its all foreplay to the moment when the soaring guitars, well, when the guitars soar. lol. Then they do that post rock thing where it gets intense and then more intense and then more and at some point you notice you're not breathing, you're eyes are squinting unflatteringly, and you're mumbled "Stop, No, I can't take it!" turns into euphoric shouts of "No, don't stop! don't STOOOOPPPP!!!!". Its orgasmic is what I'm saying. And just like orgasms, despite being played out and ever so familiar, they're quite good. From there there is more slow noodling as if they're getting themselves ready for another go-round, followed by another (less impactful, yet still gorgeous) epic crescendo. And then BOOM! We are back to where we started, which was the end, and that final god-tier ambient closing track.
The name is silly, but Idk maybe I am just basic. Seems pretty weird. The cover is, on first glance, underwhelming - BUT, I like it now that i look at it. has a certain circular, symbolic meaning. Said symbolism and cover maybe influenced my hackneyed attempt at such a round-about structure to this comment and track break down.
And as far as how this fits/ranks in their discog, well I'm far from a mega fan of this band. I like/love their 1997 album because it has the word blues in one of its songs and that is an instant winner in my books. I love their 2000 album, but of course I'm contractually obligated to say that on this site and on this internet. But in all seriousness I haven't listened to Lift Yr Skinny Fists in years, but there was a time when I was in love and thought I'd discovered the holy grail of music when i heard that. Never heard Yanqui I don't think, and I really like their legendary 1999 EP although I've only heard it once and can't say what I liked about it. When I first joined this site in 2012, I was caught up along with almost every other BEA member in the recent release of Allelujah... Don't Bend Ascend. As a matter of fact, I believe that was the VERY FIRST album comment I ever made on this site. I loved it and still do tbh. I adore how fucking brutally heavy that album is. Haven't heard their 2015 or 2017 offerings. All that is to say I don't really feel I have any strong context or freshness to any relative quality assessments. I will say that I really really liked this album. It hit me at the right time and I am very glad its in my life. I am still not someone who will get excited about Post Rock when placed as a genre on an album, as a matter of fact I kinda avoid such albums. Not sure why. Maybe I like music that is more immediate and less drawn-out than what that genre tag evokes.
Anyway, this will end up being the most unstructured (aka least structured) of all my 2021 chart/album comments and my longest and my most deserving of ridicule and the one with the most bad English (which is saying something). I will close by saying, "cool album". The highs are heaven, the lows sound like somewhat by-the-numbers GY!BE things analogous to a nice serene Nebraska cornfield.
Oh and one final added comment, regarding the general darkness or vibe of this album, I felt like it was the least dour, apocalyptic of the albums I've heard by them. All their albums have some moments of soaring beauty, but I felt this had several that felt almost religious and not in a end-of-days type of way either. Anyway, I have seen comments saying this has a a deeply dark atmosphere, and maybe that is just a personal reaction thing, but I personally found it refreshing how GY!BE sounded a little less morbid this time around.
cool album"[+]Reply
"Billie Balearic Beat Yeah 've had varying responses to the Billie phenomenon, her first album was one of the first times listening to it I just felt old- what seemed to be heralded as this brilliant bit of noir pop I just saw a lot of teenage I-cracked-the-code posturing and the fact that the sou...""Billie Balearic Beat
Yeah 've had varying responses to the Billie phenomenon, her first album was one of the first times listening to it I just felt old- what seemed to be heralded as this brilliant bit of noir pop I just saw a lot of teenage I-cracked-the-code posturing and the fact that the sound just felt far too much like nearly everybody who'd blasted out of the post Odd Future hype, though there were a couple of moments (especially "Bury a Friend" and "I Love You") that I could see some real talent and promise for the future. Then came the messy Pandemic release of "Happier than Ever", which I found far more interesting, not only in it's Kid-in-a-candy-store endless genre hopping but in that she was exploring some geniunely conflicted and difficult emotions that made the album feel more directly confessional, even if admittedely the throw-it-on-the-wall approach meant a good number of the songs didn't work (surprisingly the limpest ones were the more directly venomous kiss-offs) and didn't really cohere as an album despite the consistient overarching theme of the emotional torment of sudden fame.
Now I can see why this album has gotten the positive acclaim it has, it's an incredibly lean release full of the kind of shimmering, attractive compositions that Billie and her longtime bro producer Finneas have mastered over the course of her career, and on the surface there is a feeling of more direct and less put-upon angsty singer-songwriter appeal to the overall songs & LP. But... uh... well I guess to go bit by bit: "Skinny" is a solid and incredibly succinct summination of her previous album, both the cost of fame and the invasive personal scrunity (particularly the crassest kind, especially on her own body or love life), if maybe a bit slight overall it still effectively lets the ink dry on the chapter to move forward. Now "Lunch" was oddly ballyhooed as something shocking and daring because of it's dip into direct Sapphic attraction, but uh, which current left-of-center girl singer DOESN't have a lesbian-crush song out there? It's as on-trend as it gets, which doesn't mean it isn't earnest and perhaps an FU to those Twitter weirdos who endlessly hounded her with Queerbaiting accusations, but I mean "Bad Guy" honestly was more risque than this. And mentioning that song of course highlights a major reason why I think a number will have a number of major "... that's it?" reactions to this song, since it has all the elements to be a major banger in theory, but it doesn't bang at all in practice. I think in many ways Billie's usual detached cool hampers this here as her voice should really morph into a more hormonal throttle, but I donno maybe it's some annoying & dated tricks (f*king hell those perfunctory hand-claps, giving late Aughties flashbacks). It's maybe disappointing that this is what's going to get the most attention when the following tracks are much stronger, a far better mix of the more spacious and fluid compositions anchored strongly in the nucleus by Billie's much more confident though still appealingly delicate husk of a voice. The only somewhat peculiar thing here is why the album went from talking about newfound infatuation to immediately pivoting towards breakup song after breakup song (or more so, Near-Breakup or Missed Ships in the Night songs), there seems to be a track or two that's lying somewhere on an editing room floor.
Only by "The Greatest" am I starting to see some problem with the overall production, as the late additions of percussion and chopped-up distortion feel pounded flat into the composition when they should feel a lot more dynamic and intrusive. Then there's "L'amour de ma vie" which, no, the French title doesn't mean a damn thing, which ultimately is another Ironic not-in-love ballad with a decent but for Billie predictable punchline.... but then that's where the album gets really weird. And I Don't mean that in a good way. Cause just after the song seems to end it suddenly swerves instantly into this 2000s Ibiza-ready deafining Euro Club song though if it were thrown threw a Hyperpop cheese grater, which I admit for the first time I was actually taken aback and surprised when listening, but thematically and musically it has no connection to what came before or after and feels like the equivalent of mustard suddenly and needlessly squeezed onto a sundress. Though I'll take that over the next track, next to that one Micheal Scarn moment from When We All Fall Asleep as one of the only truly terrible tracks she's produced, a ridiciously cheesy electro beat with no humor or progression to make it feel Ironic or Campy or whatever the fuck. At first it was confounding, but when the next track rips-off her own Wish You Were Gay beat but without pithy lyrics or a discernible point at all, it came clearer but also... why? are you going back scrounging for Z-sides from your late 2010 days?
After that bizzare extended interlude, the album does admirably close with a song that could've been a 120-minutes underground smash in the mid 90s, a dense, subtly swirling and smartly layered Electro-accented bit of 90s alt-rock that both lyrically and sonically actually closes the album pretty effectively, even if it's making me question why we needed that needless and jarring bit of leftovers thrown in as the penultimate track(s).
So yeah that's kind of why I find this a mixed bag, less than being hit Hard and Soft on both sides it feels like an album that starts off on a steady Gallop but then kind of Waddles on the edges before gracefully crossing the finish Line. it's certaintly lovely to listen to despite some really questionable choices late in the run but it also has already felt less than meets-the-ear after giving it a couple of repeat listens, maybe her and Finneas's musical choices are starting to feel a bit too lameneted and "Safe Edgy", but also Billie seems to pick and choose when she wants to be more detailed and upfront with her lyrics to skewing a more dead-eyed Coyness and simply straining the emotional crux of the songs to feel more generalized and universal rather than directly personal. It's solid and I can see why some view it as her best, but I find it a slight step down from the previous release and it's following singles which just felt much more from-the-gut even if it led to messier results. Maybe this is just the start as many have already worked the theory this is just the beginning of several colour-coded releases, but for now I'll rate this as a (mostly) musically pleasing release that just feels a bit too tentative at key moments to take that next leap forward."[+]Reply
"Solid album. She has talked about how she is challenging herself to write great music about ordinary, content, undramatic, life. I would say she is succeeding."Reply
ExTeaSea | Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)
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Mercury | Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
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indieshins | Helpful? (Log in to vote) | +8 votes (8 helpful | 0 unhelpful)
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grohly | Helpful? (Log in to vote) | +3 votes (3 helpful | 0 unhelpful)
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cestuneblague | Helpful? (Log in to vote) | +3 votes (5 helpful | 2 unhelpful)
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