Listed below are the best albums of 2005 as calculated from their overall rankings in over 59,000 greatest album charts. (Chart last updated: 5 hours ago).
"I thought this album, like many Kent's, would be played out of my mind, as I played it manymany times and for specific reasons, not there now. But no, it stays, it's not broken, forgotten or disliked. I still care."Reply
"It's Iron Maiden meets Guns 'n Roses meets Skid Row, Motley Crue and Metallica. This is A7X's breakthrough album, and with good reason. The juxtaposition of each track is such that the whole album fits together in a very deliberate way. Once heard, songs like 'Beast and the Harlot,' 'Trashed and ...""It's Iron Maiden meets Guns 'n Roses meets Skid Row, Motley Crue and Metallica.
This is A7X's breakthrough album, and with good reason. The juxtaposition of each track is such that the whole album fits together in a very deliberate way.
Once heard, songs like 'Beast and the Harlot,' 'Trashed and Scattered,' 'Bat Country' and 'Burn it Down' are hard to leave behind. A great 'guitarist's album' there is much to admire in the sweeping fretwork of Vengeance and Gates, and the way the harmonies mesh together and drive the melody of each track tastefully forward.
The most underrated track on the album is probably 'The Wicked End,' which evokes a dark, apocolyptic biblical saga
of sin with a truly epic Danny Elfman-style orchestral breakdown midway through.
Shadows' multi-tracked vocals can make some songs somewhat frustrating to sing along to- he tends to sing over himself with some parts overlapping- but the '80s-style hair metal bravado sets the tone perfectly with Shadows' unmistakable nasal twang letting anybody familiar with the band know instantly that this is definately Avenged Sevenfold.
The late 'Rev' commands the sticks with superhuman flair and class, with some truly mind-melting drum flurries and double bass pedal domination.
All the hallmarks of an exuberant, cocksure and talented young band are woven into every second of this album, and back in 2005 caught the music industry's attention in a huge way. 'City of Evil' remains on many 'best albums of the 2000s' lists today.
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"Bright Eyes's "digital ash in a digital urn" is Conor's take on electronica. There seemed to be a bunch of these indie-songwriter-meets-IDM after the success of the postal service. Conor's lyrical style doesn't mesh 100% with the musical style, which keeps this from flowing as well as his other 2...""Bright Eyes's "digital ash in a digital urn" is Conor's take on electronica. There seemed to be a bunch of these indie-songwriter-meets-IDM after the success of the postal service. Conor's lyrical style doesn't mesh 100% with the musical style, which keeps this from flowing as well as his other 2005 album (or "Lifted", for that matter). Best songs = "take it easy (love nothing)" (a tale of exploration, as in "First with your hands, then with your mouth / A downpour of sweat, damp cotton clouds / I was a fool, you were my friend / We made it happen") and "easy / lucky / free" (great closer). When he hits the mark, it's because his lyrics don't overweigh the FX and the FX don't overwhelm the song, like on the two best songs or "light pollution", which sounds like a typical bright eyes song just given some not-so-usual backing "instrumentation". "easy / lucky / free" is the perfect marriage of the IDM with Conor's narrative over how the end of life is the easiest (luckiest and freest) part of living, singing "Sometimes I worry that I've lost the plot / My twitching muscles tease my flippant thoughts / I never really dreamed of heaven much / Until we put him in the ground / But it's all I'm doing now" and showing how actual living is chaotic enough "I set my watch to the atomic clock / I hear the crowd count down til the bomb gets dropped / I always figured there'd be time enough / I never let it get me down" with backing FX of people's hysterical screaming. "There is nothing as lucky, as easy, or free". One of his best songs. When Conor doesn't hit it, you have a cluttered "time code" (with the usual annoying intro) or the jumbled message and unnecessary outro of "i believe in symmetry" (which sounds more like it's backed by a NIN-light band than an IDM guy) or the crying baby segments of "ship in a bottle". But for the most part, this album is closer to "hit" than "miss", but not as consistently-good as anything from "fevers and mirrors" to "i'm wide awake, it's morning"."[+]Reply
"I didn't know what I was missing out on. Why was I never told about this album? Why do I have to stumble onto things like this via the internet?"Reply
"Although I really enjoy the other albums, I feel more personally attached to this one. It has had more influence than people expected (look at Justice, Gesaffelstein, and the electro punk of M.I.A. and Death Grips), and it was hated basically because they didn’t do what people expected them to do...""Although I really enjoy the other albums, I feel more personally attached to this one. It has had more influence than people expected (look at Justice, Gesaffelstein, and the electro punk of M.I.A. and Death Grips), and it was hated basically because they didn’t do what people expected them to do. And I think - however counterintuitive - this album is the most daft punk of them all. They stripped down the essentials of their image: heavy vocoder usage, drum machines, and most importantly repitition. And I don’t want to sound like a daft purist, but this is why this album will only be understood by real fans."[+]Reply
"The only problem with this album is that it is only half and hour long. I have literally listened to this album everyday for the last few months, no exaggeration. Every song from this album has over a hundred plays on my iTunes."Reply